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COPYRIGHT DEPOSIT 



/ 



AN INDEX 



TO THE 



WORKS OF SHAKSPERE 



GIVING 

REFERENCES, BY TOPICS, TO NOTABLE PASSAGES AND 

SIGNIFICANT EXPRESSIONS; 

BRIEF HISTORIES OF THE PLATS; 

GEOGRAPHICAL NAMES, AND HISTORICAL INCIDENTS ; 

MENTION OF ALL CHARACTERS, AND SKETCHES OF IMPORTANT ONES J 

TOGETHER WITH EXPLANATIONS OF ALLUSIONS 

AND OBSCURE AND OBSOLETE WORDS AND PHRASES 



BY 

EVANGELINE M. O'CONNOR 



^ ' 




NEW YORK 
D. APPLETON AND COMPANY 

1887 



if*/ 



C*> 



Copyright, 188T, 
By D. APPLETON AND COMPANY. 



PEEFACE 



It has been my intention to refer, in the following 
pages, to every passage of any importance under the word 
that best expresses its subject, whether that word is in the 
text or not, and in cases of doubt as to what word a pas- 
sage would be looked for under, I have entered it under 
two or more. But, that significant expressions may be 
found readily, I have also indexed under their most 
prominent word all that seemed to me to be such. To 
have indexed all expressions under their principal words, 
would have been to make a phrase-concordance, which 
we already have, and would defeat the aim of this book by 
overloading it and wearying the student with references 
to a mass of unimportant allusions. Here the question of 
judgment necessarily comes in, and I may have omitted 
some references that a better editor would deem as sig- 
nificant as many that are included. I trust, however, 
that references to passages of importance under each topic 
will not be found wanting. 

In order to make the book a convenient manual, and 
include information that a student of Shakspere needs 
but would otherwise only find scattered through a great 
number of books, I have given short, outline histories of 
the plays, and sketches of the principal characters, with 
brief extracts from the ablest critics. In the case of his- 
torical characters and events, I have given dates and 



iv PREFACE. 

statements of the facts as found in history. The expla- 
nations of allusions, of unusual words and phrases, and 
of words used in obsolete or peculiar senses, will be valu- 
able, I believe, to the younger class of readers. Under 
some general heads — as "Bible," "Diseases," "Law," 
"Omens," and "Proverbs" — I have grouped together 
references that will enable students to consult as a whole 
Shakspere's expressions and allusions to the sciences of 
law and medicine, to the Bible, and to the folk-lore of 
his time as expressed in proverbs and popular supersti- 
tions. Under "Order and Dates of the Plays," and 
" Sources," I have repeated information that is given 
in the various histories of the plays, so as to place it in 
convenient form for comparison. 

It may at first sight seem unnecessary to add another 
to the multitude of books on Shakspere's works, and aids 
to the study of them. But I think it will be found 
that no other of the same character — none that is prop- 
erly an index, as distinguished from a concordance — 
has been published. One prepared by Francis Twiss, in 
two volumes (London, 1805), involved a vast amount of 
labor, but was rendered almost useless by over-condensa- 
tion. It was essentially a concordance, as its full title 
shows: "A Complete Verbal Index to the Plays of 
Shakspere ; adapted to all editions. Comprehending 
every substantive, adjective, verb, participle, and adverb 
used by Shakspere." With the exception of about two 
hundred copies, the entire impression was destroyed by 
fire, and the book is now so rare that a copy has been 
sold for over seven pounds. Samuel Ayscough's Index 
(London, 1790) was made for a special edition of the 
plays. Though long since out of print, it is not very 
rare ; but this also is simply a concordance. Mrs. Cow- 
den Clarke's elaborate and exhaustive concordance (Lon- 
don, 1846) is well known; but it is rather costly, and 



PREFACE. V 

though admirable for all that it professes to be, is not an 
index to anything but words. Davenport Adams's con- 
cordance (London, 1885) is less bulky than Mrs. Clarke's, 
but still clings closely to the purely verbal plan. Other 
books give quotations by topics — notably John Bartlett's 
excellent "Shakspeare Phrase -Book" (Boston, 1882) — 
and some editions of the works give histories and sketches 
of the plays ; but the combination of information here 
presented is new, and I have aimed to include those points 
which the reader would most desire to have in compact 
and convenient form for reference. 

E. M. O'C. 

Rochester, N. Y., February 2S, 1887. 



VI 



FACSIMILES. 



From Samuel AyscongK 



" Index to the Remarkable Passages and Words Made Use 
of by Shakspearc." 



Medicine. The miserable have no other medicine but only hope Meas for Meas. 

— To apply a moral medicine to a mortifying mischief Much Ado About Noth. 

— I have seen a medicin that's able to breathe life into a stone, quicken a rock, and 

make you dance canary with sprightly power and motion AlCs Well 

— Camillo,— preserver of my father, now of me ! the medicin of our house 

Winter 8 Tale 

— Meet we the medicin of the sickly weal Macbeth 

— That great medicine hath with his tinct gilded thee Antony and Cleop. 

— Work on, my medicine, work I thus credulous fools are caught Othello 



A. 


S. 


P. 


3 

1 


1 
3 


87 
124 


2 


1 


283 


4 

5 

1 
4 


3 

2 
5 

1 


855 

38 
773 

10G7 



C. L. 
126 
246 

2 37 

1 20 
1? 



From Francis Twins' s "Index to the Plays of ShakspcareV 



Medicine(s). M. W. iii. 3. M. 
M. ii. 2. iii. 1. M. A. i. 3. v. 
1. M. N. D. iii. 2. A. L. ii. 
7. A. W. i. 3. ii. 1. v. 3. J. 
v. 1. H. 4. S. P. iii. 1. iv. 4. 



T. C. v. 11. A. C. i. 5. Cy. 
v. 5. L. iv. 7. R. J. ii. 3. H. 
v. 2. O. iv. 1. 
Medicine(v). Cy. iv. 2. O. iii. 3. 



From Mary Cowden Clarice's " Complete Concordance to Shalspcre." 



MEDICI?TE— obey this medicine Merry Wivt. 

yet a kind of medicine in itself. ..Meas. for Meat. 
have no other medicine, but only hope — 
a moral medicine to a mortifying. . ..Much Ado. 
would give ureceptial medicine tn r&ge — 
out loathed medicine ! hated potion . Mid. JV. Dr. 
patiently receive mj medicine. . ..As you Like it. 

else Paris, and the medicine . AW» Wei. 

I have seen a medicine that's able to. — 

the tinct and multiplying medicine. . — 

the medictne of our house ! Winter 1 * Tale. 

let's make us medicines of our great. . . . Macbeth. 
meet we the medicine of the sickly. ... — 

that present medicine must be. King John. 

medicines to make me love him 1 Henry IV. 



iii. 


3 


ii. 


2 


iii. 


1 


i. 


3 


v. 


1 


iii. 


2 


ii. 


7 


i. 


3 


IL 


1 


V. 


3 


iv. 


3 


iv. 


3 


v. 


2 


V. 


1 


ii. 


2 



MEDICINE— I have drunk medicines; Poins! 

1 Henry IV 

good advice, and little medicine 2 Henry IV. 

preserving life in medicine potable . . — 

medicine for my aching bones I. Trail, and Cret*. 
that great medicine hath with his.^n. and Cleo. 
great griefs, I see, medicine the less. . Cymbtline. 
by medicine life may be prolonged. .. — 

hang thy medicine on my lips Lear. 

[K'it. ) if not, I'll ne'er trust medicine — 

residence, and medicine power. .Borneo and Jul. 
no medicine in the world can do thee. . . Hamlet. 
and medicines bought of mountebanks.. . Othello. 
shall ever medicine thee to that sweet.. . — 
work on, my medicine, work t — 



11. 


2 


111. 


1 


IV. 


4 


V. 


11 


1. 


5 


iv. 


2 


V. 


5 


iv. 


7 


V. 


3 


ii. 


3 


V. 


2 


1. 


3 


111. 


3 


iv. 


1 



From W. H. Davenport Adams's " Concordance to the Plays of Shakespeare." 

Medicine. The miserable have no other medi- 
cine But only hope. Mea./or Mea. III. i. If 

the rascal have not given me medicines to make 
me love him, I'll be hanged, i Hen. IV. II. 2. 

To apply a moral medicine to a mortifying 

mischief. Much Ado AS. Noth. I. 3.- — I have 
seen a medicine that's able to breathe life into a 
stone, quicken a rock, and make you dance 
canary with sprightly power and motion! AlVs 

Welly II. 1. Camillo, Preserver of my Father, 

now of me ! The medicine of our house. Wint. 

Tale, IV. 3. Meet we the medicine of the sickly 

weal ? Macb. V. 2. That great medicine hath 

With his tinct gilded thee. A nt. and Cleo. I. 5. 

Work on, My medicine, work ! thus credulous 

fools are caught. Oth. IV. 1. 



ANALYTICAL INDEX 

TO 

SHAKSPEEE'S WOKKS. 



Aaron, a Moor, a character in Titus Andronicus, introduced in 
*., 1 or 2, as a prisoner. He is a lover of Tamora, Queen of the 
Goths. In ii. 1, he declares his designs against Rome and the em- 
peror ; in ii. 3, hides gold ; discloses his plans, iv. 2 ; kills the nurse, 
iv. 2 ; exchanges his child, iv. 2 ; avows his deeds, v. 1; his sen- 
tence, v. 3. He is a hideous and unnatural character, cursing the 
day in which he has not done " some notorious ill." 

Abbess. See ^Emilia. 

Abbey, an, scene of a part of the Comedy of Enors, Act v. 

Abbeys. See Swinstead and Westminster. 

Abbot of Westminster. See Westminster, Abbot of. 

Abbots, robbery of, for expenses of war, King John, Hi. 3. 

Abdication, of a sovereign, Richard II, iv. 1. 

Abel, Richard II, i. 1 ; I. Henry VI, i. 3. 

Abergavenny, George Neville, Lord, a character in Henry VIII, 
introduced in i. 1. He was suspected of taking part in Suffolk's con- 
spiracy in the reign of Henry VII., but afterwards became a favour- 
ite with the king, as he was also with Henry VIII. 

Abhorrence. See Hatred. 

Abhorson, an executioner introduced in Measure for Measure, 
iv. 2, who speaks of his occupation as a mystery. 

Abjects (menials), Richard III., i. 1. 

Able (to be responsible for), Lear, iv. 6. 

Abode, abodement (to bode, an evil omen), III. Henry VI., iv. 
7; v. 6. 

Abraham. See under Bible. 

Abraham, Montague's servant in Romeo and Juliet, appears 
in i. 1. 



2 INDEX TO SHAKSPERE'S WORKS. 

Abram (flaxen or auburn ?), Coriolanus, ii. 3 ; Romeo and 
Juliet, ii. 1. 

Absence, doted on, Merchant of Venice, i. 2 ; of lovers, Othello, 
Hi. 4 / effect of, Antony and Cleopatra, i. 4 ; love in, Sonnets xcvii., 
xcviii. 

Absey-book (ABC book), King John, i. 1. 

Absolute (decided), Measure for Measure, Hi. 1. 

Absolute (perfect), Pericles, iv., prologue. 

Absolution, death without, Hamlet, i. 5. 

Absyrtus. See Medea. 

Aby (atone for), Midsummer-Night's Dream, Hi. 2. 

Academe, at the court of Navarre, Love's Labour's Lost, i. 1. 

Accidents, guilty, A Winter's Tale, iv. 3 ; have hurt my brother, 
Hamlet, v. 2 ; moving, Othello, i. 3. 

Accited (summoned), Titus Andronicus, i. 1. 

Accommodated, definition of, II. Henry IV., Hi. 2 ; ridiculing 
the cant use of the word. 

Account, the final, with Heaven, King John, iv. 2 ; Richard 
II., i. 1 ; Hamlet, i. 5 ; Hi. 3. 

Accusations. See Crime. 

Acheron, a river of hell, Midsummer-Night's Dream, Hi. 2 ; Ti- 
tus Andronicus, iv. 3 ; Macbeth, Hi. 5.. 

Achievement, never answers to expectation, Troilus and Cres- 
sida, i. 3. 

Achilles, a general of the Greeks, character in Troilus and 
Cressida, introduced in the first scene. In the third, his pride is 
described by Ulysses, who plans to humble it by sending Ajax to 
fight with Hector ; his quarrel with Agamemnon, ii. 3. In in. 3, 
Ulysses once more plots against his vanity. In v. 9, he slays Hector. 

"Shakspere has allowed the Homeric Achilles, who purchased 
lasting fame with a short life, to degenerate into a vain, morbidly 
proud, and effeminate mocker." — Gervinus. 

Allusions to Achilles: his spear, II. Henry VI, v. 1; in a paint- 
ing, Lucrece, I. 1424. 

Achitophel. See Bible. 

Aconitum, strong poison, II. Henry IV., iv. 4. 

Acquaintance, cut in adversity, Twelfth Night, v. 1. 

Actaeon (a hunter changed into a stag by Diana), Merry Wives 
of Windsor, ii. 1 ; Hi. 2 ; Twelfth Night, i. 1 ; Titus Andronicus, 
ii. 3. 

Acting, advice on, Hamlet, Hi. 2 ; representations of, Love's 



INDEX TO SHAKSPERE'S WORKS. 3 

Labour's Lost, v. 2, the Nine Worthies ; Midsummer-NigM s Dream, 
Pyramus and Thisbe ; Hamlet, the murder of Gonzago. 

Action, prompt, Macbeth, i. 7, " If 'twere done," etc. ; III. 
Henry VI., v. 4, " Wise men ne'er," etc. ; Troilus and Cressida, Hi. 
3. See also Promptness. 

Actions, criticism of, Henry VIII., i. 2 ; checks in the highest, 
Troilus and Cressida, i. 3 ; evil and good, Julius Caisar, Hi. 2. 

Action-taking (suing at law instead of fighting), Lear, ii. 2. 

Actium, battle of (31 b. a), Antony and Cleopatra, Hi. 8-10 ; iv. 
7, 8, 10-12. 

Activity, enjoyment in, Troilus and Cressida, i. 2 ; Macbeth, 
ii. 8 ; Cymbeline, iv. 4. 

Actor(s), a strutting, Troilus and Cressida, i. 3 ; best in the 
world, Hamlet, ii. 2 ; better to have a bad epitaph than their ill 
report, — feigned passion of an, Hamlet, ii. 2; abstracts and brief 
chronicles of the time, Hamlet, ii. 2 ; advice to, Hamlet, Hi. 1 ; an 
imperfect, Sonnet xxiii. ; the author's dissatisfaction with the pro- 
fession of, expressed, Sonnets, ex., cxi. 

Adallas, King of Thrace, Antony and Cleopatra, Hi. 6. 

Adam, penalty of, As You Like It, ii. 1 ; first that bore arms, 
Hamlet, v. 1. See Bible. 

Adam, an officer, apparently, spoken of in Comedy of Errors, 
iv. 3. 

Adam, called, Much Ado about Nothing, i. 1 ; Adam Bell, an 
outlaw, famous for his archery. 

Adam, the faithful old servant in As You Like It, introduced in 
i. 1, who follows the fortunes of Orlando. In ii. 3, he offers his sav- 
ings to his young master ; in ii. 6, he is famishing in the forest ; in 
ii. 7, he is brought in before the duke and fed. 

Adamant (magnet), Midsummer- JVighfs Dream, ii. 1. 

Adder, the, in a bright day, Julius Caisar, ii. 1 ; deafness of the, 
Sonnet cxii. 

Addition (titles), AIVs Well that Ends Well, ii. 3 ; Troilus and 
Cressida, ii. 3 ; Lear, ii. ; Hamlet, i. 4 ; Othello, iv. 1, and else- 
where ; (attributes), boasts of their, Troilus and Cressida, i. 2. 

Adhere (fit), Macbeth, i. 7. 

Adieus. See Parting. 

Admiration (wonder), Lear, i. 4 ; Hamlet, Hi. 2 ; and in va- 
rious places. 

Adonis, story of, in Venus and Adonis. His death, I. 1030 ; 
flower of, -l, 1168. See Anemone. Allusions to Adonis: Taming 



4 INDEX TO SHAKSPERE'S WORKS. 

of the Shrew, Induction, 2 ; Sonnet liii. ; The Passionate Pilgrim, 
iv., vi., ix., xi. 

Adonis's gardens, I. Henry VI, i. 5 or 6. These were " nothing 
but portable earthen pots, with some lettuce or fennel growing in 
them. On his yearly festival, every woman carried one of them in 
honour of Adonis, because Venus had once laid him in a lettuce-bed. 
The next day they were thrown away." 

Adoption, of children, All's Well that Ends Well, i. 3. 

Adrian, a lord, character in The Tempest, introduced in ii. 1. 

Adriana, wife of Antipholus of Ephesus, in the Comedy of Er- 
rors, introduced in ii. 1 ; made shrewish by jealousy. 

Adriano de Armado, Don. See Armado. 

Adriatic Seas, rough as, Taming of the Shrew, i. 2. 

Advanced (lifted), Twelfth Night, ii. 5, and elsewhere. 

Adventures, tales of, Othello, i. 3. 

Adversity, patience at the, of others, Comedy of Errors, ii. 1 ; 
uses of, are sweet, As You Like It, ii. 1 ; compensations of, All's 
Well that Ends Well, iv. 3 ; Richard III, iv. 4; Cymbeline, iv. 2 ; 
false friends in, Henry VIII, ii. 1, " Where you are liberal," etc. ; 
Troilus and Cressida, Hi. 3 ; Timon of Athens, i. 1, 2 ; ii. 2 ; Hi. 6 ; 
iv. 2 ; Hamlet, Hi. 2 ; Lear, ii. 4 ; fallen suddenly on greatness, Henry 
VIII, in. 2 ; winnows men, Iroilus and Cressida, i, 3 ; the noble 
in, Coriolanus, iv. 1 ; melancholy in, Timon of Athens, iv. 3. 

Adversity (one adverse or contrary), Troilus and Cressida, v. 1. 

Advertisement (admonition), Much Ado about Nothing, v. 1 ; 
All's Well that Ends Well, iv. 3 ; I. Henry IV., iv. 1; (intelligence), 
/. Henry IV., Hi. 2, end. 

Advertising and holy (attentive and faithful), Measure for 
Measure, v. 1. 

Advice, concerning friends and conversation, All's Well that 
Ends Well, i. 1 ; Hamlet, i. 3 ; to the wretched, Comedy of Errors, 
ii. 1 ; like water in a sieve, Much Ado about Nothing, v. 1 ; to the 
wilful, and from the dying, Richard II, ii. 1; has an effect contrary 
to that intended, Tlie Lover's Complaint, L 160. 

Advice (deliberation), Titus Andronicus, ii. 1, " She will fill our 
engines with," etc. 

iEdiles, Coriolanus, iii. 1. They had care of the public build- 
ings, streets, processions, etc. 

iSSg'eon, a merchant of Syracuse, father of the twin Antipholuses, 
in the Comedy of Errors. 

JEgle, 31idsummer-NighVs Dream, ii. L 



INDEX TO SHAKSPERE'S WORKS. 5 

iExnilia, mother of the twin Antipholuses, in the Comedy of 
Errors, introduced in v. 1, as abbess at a convent in Ephesus, which 
she had entered after losing her sons, whom, with her husband, she 
finds in the same scene. 

iEmilius, a noble Roman, unimportant character in Titus An- 
dronicus, introduced in iv. 4. 

2Enea3, one of the Trojan commanders, and leader of those that 
escaped after the siege, a character in Troilus and Cressid 1, intro- 
duced in i. 1. In i. 3, he brings Hector's challenge ; in v. 6, he is 
said to have been taken by Ajax, but he appears again in v. 10, leading 
the Trojans. Allusions to ^Eneas : The Tempest, ii. 1 ; II. Henry 
VI, v. 2 ; Titus Andronicus, Hi. 2 ; Julius Ccesar, i. 2 ; Hamlet, ii. 
2 ; Antony and Cleopatra, iv. 12 or 11/. ; Cymbeline, Hi. 4. 

JEolus, II Henry VI, Hi. 2. The god of the winds. 

Aery (brood), Richard III, i. 3. 

iEsculapius, Merry Wives of Windsor, ii. 3. The god of phy- 
sicians. 

2Eson, Merchant of Venice, v. 1. The father of Jason, restored 
by Medea to youth. 

2Esop, HI Henry VI, v. 5. The fabulist is said to have been 
humpbacked, and Richard is called so on account of his de- 
formity. 

Affectation in language, love's labour's Lost, v. 2 ; " Taffeta 
phrases," etc., Hamlet, v. 2. Osric's is travestied by Hamlet in the 
same scene ; called affection, Love's Labour's Lost, v. 2. 

Affectioned (affected), Twelfth Night, ii. 3. 

Affections, human, The Tempest, v. 2 ; wrestle with, As You 
Like It, i. 3 ; intention of, A Winter's Tal", i. 2. See Love. 

Affects (affections), not mastered by might, Love's Labour's Lost, 
i. 1. 

Affied (affianced), Taming of the Shrew, iv. 4. 

Affined (of the same sort), Troilus and Cressida, i. 3 ; (under 
obligation), Othello, i. 1 ; ii. 3. 

Affliction, cannot subdue the mind, A Winter's Tale, iv.4; sweet, 
A Winter's Tale, v. 3 ; religion in, //. Henry VI, ii. 1; enamoured, 
Romeo and Juliet, Hi. 3 ; a test of men, Troilus and Cressida, i. 3 ; 
Coriolanus, iv. 1 ; patience in, Othello, iv. 2. See Sorrow. 

Affy (have faith), Titus Andronicus, i. 1. 

Africa, II Henry IV., v. 3 ; Coriolanus, i. 8, 

Agamemnon, brother of Menelaus, and general-in-chief of the 
Greeks at the siege of Troy ; character in Troilus and Cressida, in- 



6 INDEX TO SHAKSPERE'S WORKS. 

troduced in i. 3. In the same scene, Ulysses describes to him how 
he is mimicked by Patroclus, who puts on his " topless deputation " 
(deputed power in which he has no superior), to amuse Achilles ; 
allusions to him, II. Henry IV., ii. 4; Henry V., in. 6; III. Henry 
VI, ii. 2. 

Agate, Much Ado about Nothing, Hi. 1; II. Henry IV., i. 2. 
A small person, so called in allusion to the little figures cut in agate, 
for rings, etc. 

Age, a degenerate, Julius Ccesar, i. 3 ; one poor retiring minute 
in an, Lucrece, I. 962 ; pattern of the worn-out, Lucrece, I. 1350; 
peace proclaims olives of endless, Sonnet cvii. 

Age, old, infirmities of, Comedy of Errors, v. 1; Measure for 
Measure, Hi. 1; wit out in, Much Ado about Nothing, Hi. 5 ; Comedy 
of Errors, v. 1; spirit in, Much Ado about Nothing, iv. 1, " Time hath 
not yet," etc. ; frosty, but kindly, As You Like It, ii. 3 ; full of wise 
saws, As You Like It, ii. 7 ; not desired, A IV s Well that Ends Well, 
i. 2 ; avarice inseparable from, II. Henry IV., i. 2 ; characters of, II. 
Henry IV., v. 5 ; alacrity and cheerfulness declined in, Richard III, 
v. 3 ; conduct becoming, II. Henry IV., v. 5 ; weary, Henry VI1L, iv. 
2 ; mimicry of, Troilus and Cressida, i. 3 ; good opinion purchased 
by, Julius Cmsar, ii. 1 ; ingratitude in, Timon of Athens, ii. 2, " You 
gods, reward," etc.; what should accompany, Macbeth, v. 3; too 
politic, slanders on, Hamlet, ii. 2 ; declined into the vale of years, 
Othello, Hi. 3 ; infirmities of, Lear, i. 1, 3 ; ii. 4 ; reverence for, 
Lear, i. 2, letter ; unnecessary, Lear, ii. 4 ; full of grief, Lear, ii. 4. ; 
cannot wither, Antony and Cleopatra, ii. 2 ; vigour in, Antony and 
Cleopatra, iv. 8 ; childless, Sonnets ii., v., vii., xi. ; marks of, Sonnets 
ii., v., xxii., Ixii., Ixiii., Ixvii. ; the autumn, Sonnet Ixxiii. ; in love, 
Sonnet cxxxix.; cannot live with youth, The Passionate Pilgrim, 
xii. ; traces of beauty in, Lover's Complaint, I. 10. 

Aged, movements of the, Romeo and Juliet, ii. 5. 

Ages, the seven, As You Like It, ii. 7. 

Agenor, daughter of, (Europa,) Taming of the Shrew, i. 1. See 
Europa. 

Agincourt, battle of (October 25, 1415), Henry V., iv. 4, 5, 6, 
7; allusion to, Henry V., i., chorus ; before, Henry V., Hi. 7 ; iv. 1, 
2, 3 ; dead and prisoners of, Henry V., iv. 8 ; thanksgiving for vic- 
tory after, Henry V., iv. 8. 

Aglet-baby (ornament carved like the human form for a pend- 
ant), Taming of the Shrew, i. 2. 

Agnize (acknowledge), Othello, i. 3. 



INDEX TO SHAKSPERE'S WORKS. 7 

Agrippa, character in Antony and Cleopatra ; introduced in ii. 
2, a friend of Caesar. 

Aguecheek, Sir Andrew, character in Twelfth Night. He is a 
fool and a coward of an original type, so conscious of his folly and 
cowardice that the effect is almost pathetic. He is the boon com- 
panion of Sir Toby Belch, who makes a butt and a tool of him. See 
Slender. 

Agues, in March, 1. Henry IV, iv. 1. 

Ahitophel. See Bible. 

Aim, to cry, Merry Wives of Windsor, ii. 3 ; Hi. 1 ; King John, 
ii. 1. An archery term, meaning to encourage. 

Air, a spirit all of, The Tempest, v. 1 ; the empty, vast, and wan- 
dering, Richard III, i. 4. 

Ajax, one of the Grecian commanders, of great size and courage, 
but dull and brutish in mind, a character in Troilus and Cressida, 
introduced in ii. 1. In i. 2, Pandarus describes him ; in i. 3, Ulysses 
speaks of his insubordination ; in ii. 1, he is railed at by Thersites ; 
flattered by Agamemnon in ii. 3 ; in Hi. 3, it is decided that he shall 
fight with Hector, and in iv. 5 they fight. 

" The hand is masterly with which, in the delineation of Ajax, 
physical strength is exhibited intensified at the expense of mental 
power ; the abundance of similes and images with which the rare but 
simple nature is described is inexhaustible ; the discernment is won- 
derful with which all animal qualities are gathered together to form 
this man, at once both more and less than human ; Mars's idiot, a 
purblind Argus, and a gouty Briareus." — Gervinus. 

Allusions to Ajax: one of the Nine Worthies, Love's Labour's 
Lost, v. 2; allusions to his anger when the armour of Achilles was 
given to Ulysses, Love's Labour's Lost, iv. 3 ; II. Henry VI., v. 1 ; 
other allusions, Taming of the Shrew, Hi. 1; Lear, ii. 2; Antony 
and Cleopatra, iv. 12 or 14 ; Cymbeline, iv. ^; in a painting, The 
Rape of Lucrece, I. 1394. See also Telamon. 

Alarbus, son of Tamora in Titus Andronicus, appears in i. 1 or 
2, as a prisoner of the Romans, only to be taken away and sacrificed 
to the shades of the dead sons of Titus. He does not speak. 

Albany, Duke of, Goneril's husband, in King Lear, introduced 
in the first scene. He is shocked and grieved at the treatment of 
the old king, but is too weak to interfere. 

Albret, Charles d'. See Constable of France. 

Alchemist, Timon of Athens, v. 2 ; the sun an, King John, Hi. 1. 

Alchemy, Julius Co3sar, i. 3, end. 

Alcibiades (b. c. 454-404), an Athenian general, character in 
2 



8 INDEX TO SHAKSPERE'S WORKS. 

Timon of Athens, introduced in i. 1 ; banished, Hi. 5 ; before the 
walls of Athens, v. 4. Having conquered the enemies of Athens and 
been repaid only with ingratitude and banishment, he takes up arms 
against his country and forces it to render him justice. His mode 
of revenge is distinctly contrasted with that of the less robust nature 
of Timon. 

Alcides (Hercules), Taming of the Shrew, Hi. 2 ; The Merchant 
of Venice, ii. 1; Hi. 2 ; King John, ii. 1; I. Henry VI, iv. 7 ; An- 
tony and Cleopatra, iv. 10 or 12. See Hercules. 

Alderliefest (dearest of all), II. Henry VI, i. 1. 

Ale, cakes and, Twelfth Night, ii. 3. 

Ale, quibble on the word, Two Gentlemen of Verona, ii. 5. Minor 
church festivals were called ales. 

Alecto (one of the Furies), II. Henry IV., v. 5. 

AlenQon, the Duke of, a character in I. Henry VI, spoken of in 
i. 1, first appears in i. 2. In v. 4, York calls him a " notorious Ma- 
chiavel." He is mentioned in Henry V., Hi. 5; his (supposed) glove, 
Henry V., iv. 7, 8. 

Alexander, one of the Nine Worthies in Love's Labour's Lost, 
v. 2. The jests on the player, " Your nose," etc., are allusions to 
the traditions that his head was set obliquely, and that his body gave 
out a sweet fragrance ; his crown, A Winter's Tale, v. 1 ; the king 
likened to, Hnry V., iv. 7. 

Alexander, character in Troilus and Cressida, Cressida's serv- 
ant, introduced in i. 2. 

t Alexandria, a city of Egypt, scene of a part of Antony and 
Cleopatra. 

Alexas, an attendant of the queen in Antony and Cleopatra, in- 
troduced in i. 2 ; his revolt, iv. 6. 

Algiers. See Argier. 

Alice, a lady attending on the Princess Katharine in Henry V., 
first appears in Hi. 4, an amusing scene, where she is teaching the 
princess English. 

Aliena, name assumed by Celia in As You Like It, i. 3. 

Alisander. See Alexander. 

Alia nostra casa, etc., Taming of the Sh^ew, i. 2. (Welcome 
to our house, much-honoured Signor Petruchio.) 

Allegiance, offers of, King John, v. 7 ; pluck, from men's hearts, 
/. Henry IV., Hi. 2 ; crowned with faith and constant loyalty, Henry 
V., ii.2 ; cold hearts freeze, /. Henry VI, v. 5 ; to a fallen lord, An- 
tony and Cleopatra, Hi. 11. See also Loyalty. 



INDEX TO SHAKSPERE' S WORKS. 9 

All-hallowmas summer, I. Henry 1 V., i. 2 ; Indian summer. 

All hid, all hid, Love's Labour's Lost, iv. 3. A children's game, 
perhaps hoodman-blind, or hide-and-seek. 

Alliance, sought with France, III. Henry VI., Hi. 3 ; of Caesar 
and Antony, Antony and Cleopatra, ii. 2. 

Alliteration, the use of, Love's Labour's Lost, iv. 2, " to affect 
the letter." 

Aliens (let us go), Love's Labour's Lost, iv. 3. 

Allow (approve), II. Henry IV., in. 2 ; Troilus and Cressida, 
Hi. 2. 

All-Saints' Day. See Hallowmas. 

All-Souls' Day, Richard 111, v. 1. 

All's Well that Ends Well, a comedy first published in 1623, 
and judged to have been written in its present form about 1601 or 
1602. But it is supposed to be a re-cast of an earlier play entitled 
" Love's Labour's Won," mentioned by Meres in 1598, though some 
editors have sought to identify that play with Much Ado about 
Nothing, others with Taming of the Shrew, and one at least with 
The Tempest. The general opinion, however, identifies it with this 
play. The story is from Boccaccio's " Decameron," where it is en- 
titled " Giglietta di Nerbona," and was published in an English 
translation in Paynter's " Palace of Pleasure," where Shakspere may 
have got it. The tale is followed quite closely in the principal inci- 
dents, but Shakspere has added several important characters — Laf eu, 
Parolles, and the Countess. The scene is laid partly in France and 
partly in Italy, and the time is perhaps the fourteenth century. Al- 
though repellent in its plot, this play has some of Shakspere's finest 
passages and some of his best creations of character. 

Allycholly (melancholy), Two Gentlemen of Verona, iv. 2. 

Almanac, of my true date, Comedy of Errors, i. 2. One by 
whose birth he knew the date of his own. 

Almanacs, allusions to weather prognostications in, II. Henry 
IV., ii. 4>' Antony and Cleopatra, i. 2 ; Sonnet xiv. 

Alms-drink, Antony and Cleopatra, ii. 7. The portion of one's 
share taken by others to relieve him. Perhaps here only the leav- 
ings, which would be given as alms. 

Alonso, King of Naples, character in The Tempest, introduced 
in the first scene. He and his son, with the usurping Duke of Milan, 
whom he had aided in the usurpation, are shipwrecked in the storm 
raised by Prospero. He afterward repents of the wrong, and con- 
sents to the marriage of his son Ferdinand with Miranda. 



10 INDEX TO SHAKSPERE'S WORKS. 

Alphabet, the, called Absey. See Absey-book ; called the cross- 
row (or Christ-cross row, because it was often headed with a cross), 
Richard III., i. 1. 

Althea, dreamed she was delivered of a firebrand, II. Henry 
I V., ii. 2. It was Hecuba that had that dream before the birth of 
Paris ; burning the brand, II. Henry VI, i. 1. The destinies fore- 
told that the life of her son Meleager should last no longer than a 
brand then burning upon the hearth. She caught up the brand, ex- 
tinguished, and saved it. But when her son grew to manhood he 
slew her two brothers in a sudden passion ; and Althea, to avenge 
their death, threw the brand upon the fire, and, as it burned, the life 
of Meleager wasted away with it. 

Amaimon, Merry Wives of Windsor, ii. 2, end; I. Hen->y IV., 
ii. 4- One of the four demon-kings. His realm is in the north, the 
quarter most haunted by evil spirits. 

Amazement (consternation), 2 he Tempest, i. 2 ; Hamlet, Hi. 4. 
See Astonishment. 

Ambassadors, from France, Henry V. The chief speaker was 
the Archbishop of Bourges. 

Ambition, growth of, The Tempest, i. 2 ; to expel remorse, The 
Tempest, v. 1; shrunk, I. Henry VI, v. 4; the object of, glory, like a 
circle in water, I. Henry IV., i. 2 ; of the Plantagenets, III. Henry 
VI, i. 4 ; charge to fling away, Henry VIII, Hi. 2 ; a beastly, Timon, 
iv. 3 ; our own fault if we are underlings, Julius Ccesar, i. 2 ; ladder 
of, Julius Ccesar, ii. 1; of Caesar, Hi. 2 ; with scruples, Macbeth, i. 5 ; 
vaulting, Macbeth, i. 7 ; is but dreams and a shadow's shadow, Ham- 
let, ii. 2 ; the soldier's virtue, Antony and Cleopatra, Hi. 1. 

Amen, The Tempest, v. 1 ; say amen betimes, lest the devil cross 
the prayer, Merchant of Venice, Hi. 1 ; could not say, Macbeth, ii. 2. 

America, Comedy of Errors, Hi. 2 ; allusion to, Henry VIII, 
v. 3, " Make new nations," etc. 

Ames-ace, AlTs Well that Ends Well, ii. 3. The lowest 
throw upon two dice — two aces. 

Amiens, one of the lords attending the banished duke in As 
You Like It, introduced in ii. 1. 

Amity. See Friendship. 

Amnesty, offer of, /. Henry IV., iv. 3 ; v. 1. 

Amort (dispirited), Taming of the Shrew, iv. 3 ; I. Henry VI., 

m. 2. 

Amphion, harp of, The Tempest, H. 1. 
Amulets. See Charms, Periapts. 



INDEX TO SHAKSPERE'S WORKS. H 

Amurath, II. Henry IV., v. 2. Amurath V., who, succeeding 
his father, Amurath IV., caused all his brothers to be strangled. 
Amyntas, King of Lycaonia, Antony and Cleopatra, Hi. 6. 
Anarchy, prayer for, II. Henry IV., i. 1 ; danger of, Richard 

in, a. 2. 

Anatomize (analyze), As You Like It, i. 1 ; ii. 7 ; II. Henry 
VI, v. 2. 

Anatomy, a mere, Comedy of Errors, v. 1 ; I'll eat the rest of 
the, Twelfth Night, Hi. 2 ; that fell, which cannot heal, King John, 
Hi. 4 ; in what part of the, does the name lodge, Romeo and Juliet, 
Hi. 3. 

Anchises, Julius Cmsar, i. 2. The father of iEneas, whom 
jEneas bore away on his back from burning Troy. 

Ancient (a standard, or standard-bearer, or ensign). Pistol and 
Iago were ancients ; an old-faced (flag), I. Henry IV., iv. 2 ; of war 
(experienced), King Lear, v. 1. 

Ancients, whether better than moderns, Sonnet ix. 

Andirons, Cymbeline, ii. 4. 

And let the canakin, song, Othello, ii. 3. 

Andren (Arde), vale of, in Picardy, the meeting-place of the 
Kings Francis I. and Henry VIII., Henry VIII, i. 1. The Field of 
the Cloth of Gold. 

Andrew, my wealthy, Merchant of Venice, i. 1. A merchant- 
man, supposed to be called so after the great admiral, Andrew 
Doria. 

Andromache, Hector's wife, a character in Troilus and Cres- 
sida, introduced in v. 3. 

Andronici, tomb of the, Titus Andronicus, i. 1 or 2. Titus 
brings home those of his twenty-five sons who have fallen, to be bur- 
ied in the tomb of his ancestors. 

Anemone, the flower that sprang from the blood of Adonis, 
V. and A., 195. Purple was used for any bright color. Bion makes 
the rose to spring from the blood, the anemone from the tears of 
Venus. 

Angelo, the deputy of the duke in Measure for Measure, intro- 
duced in the first scene — a cold-hearted, self-righteous man, who not 
only falls into the wickedness which he is making a great display of 
punishing, but aggravates it by cruelty and breach of faith. The 
development of the worse elements of his character, the existence of 
which he had never suspected, his surprise at his own fall, and the 
rapidity with which one baseness follows another in a life that was 



12 INDEX TO SHAKSPERE'S WORKS. 

all selfishness and show even in its virtues, are brought out in the 
play with great skill and subtlety. 

Angelo, a goldsmith, character in Comedy of Errors, introduced 
in Hi. 1. 

Angel(s), made to weep, Measure for Measure, H. 2 ; blessed 
ministers above, Measure for Measure, v. 1 ; guardian, II. Henry 
IV., ii. 2; attending evil, II. Henry IV., i. 2; Macbeth, Hi. 1; 
Antony and Cleopatra, ii. 3 ; fell by ambition, Henry VIII, Hi. 2 ; 
love good men, Henry VIII, ii. 2 ; visions of, Henry VIII, iv. 2 ; 
beauty of, Romeo and Juliet, ii. 2 ; are bright still, Macbeth, iv. 3 ; 
and ministers of grace, Hamlet, i. 4 ; heavenly guards, Hamlet, Hi. 
4 ; sing thee to thy rest, Hamlet, v. 2. 

Angel(s), (gold coins with the figure of an angel or saint), Merry 
Wives of Windsor, i. 3 ; Merchant of Venice, ii. 7 ; King John, Hi, 3 ; 

II. Henry IV., i. 2 ; an ancient, Taming of the Shrew, iv. 2. The 
meaning of the last is obscure, but perhaps one of the old stamp, a 
true coin. Some understand it to be a word cognate to angle, and 
to mean either the bait or the victim — that angled with or that angled 
for. 

Anger, in a woman, Taming of the Shrew, v. 2, " A woman 
moved," etc. ; the king's, I. Henry IV., i. 3 ; like a full horse, Henry 
VIII, i. 1 ; sudden, Henry VIII, Hi. 2 ; my meat, Coriolanus, iv. 
2 ; a short madness, Timon of Athens, i. 2 ; of Cassius, Julius 
Caesar, iv. 3 ; more in sorrow than in, Hamlet, i. 2 ; righteous, Lear, 
ii. 2, " hath a privilege " ; Othello, Hi. 4, " There's matter in't," etc. ; 
never made good guard for itself, Antony and Cleopatra, iv. 1. 

Angiers, scene of part of King John and of I. Henry VI., v. 3 ; 
addresses to citizens of, King John, ii. 1 or 2. 

Angling, Much Ado about Nothing, Hi. 1; Antony and Cleo- 
patra, ii. 5 ; for hearts, I Henry I V., iv. 3. 

Angus, a thane of Scotland, character in Macbeth, appears in 
i.3. 

Angus, Earl of, I. Henry IV., i. 1. 

Animals, souls of, in men, The Merchant of Venice, iv. 1; cru- 
elty to, As You Like It, ii. 1 ; Cymbeline, i. 5 ; defend their young, 

III. Henry VI, ii. 2; know their friends, Coriolanus, ii. 1; strife 
among, Timon of Athens, iv. 3. 

Anjou, scene of I. Henry VI, v. 2, 4; lost to England, II Henry 
VI, i. 1; iv. 1. 

Anjou, Margaret of. See Margaret. 

Anna, the confidant of Dido, Taming of the Shrew, i. 1. 



INDEX TO SHAKSPERE'S WORKS. 13 

Anne, Princess of Wales, widow of the son of Henry VI., and 
daughter of Warwick, a character in Richard III., where she ap- 
pears first in i. 2, and is successfully wooed in the street, while fol- 
lowing the coffin of Henry VI., by Gloster (Richard III.), his mur- 
derer and the murderer of her husband. In iv. 2, he resolves that 
she shall die, so that he may marry his brother's daughter, and 
her death is announced in iv. 3 (March 16, 1485). Her ghost appears 
to Richard in v. 3. 

Anne Boleyn. See Boleyn. 

Annotanize (stilted for annotate), Love's Labour's Lost, iv. 1. 

Annoy, farewell to, III. Henry VI., v. 7. 

An old hare hoar (an old song), Romeo and Juliet, ii. 4. 

Anon, Merry Wives of Windsor, Hi. 3 ; I. Henry IV., ii. 4. A 
waiter's usual answer, used as " coming " is now. 

Answer, you shall never take her without her answer, unless 
you take her without her tongue, As You Like It, iv. 1 ; to fit all 
questions, All's Well that Ends Well, ii. 2. 

Antenor, a Trojan commander, character in Troilus and Cres- 
sida, passes through in *". 2, and is described by Pandarus. In Hi. 3 
it is proposed to exchange him for Cressida, which is done, iv. 1. 

Antenorides (name of a gate of Troy), Troilus and Cressida, 
prologue. 

Anthropophagi, and men whose heads, etc., Othello i. 3. Ra- 
leigh described such men in the account of his voyage to Guiana ; 
there is another allusion in The Tempest, Hi. 3, to men whose heads 
stood in their breasts. 

Anthropophaginian (cannibal), used in fun by the Host, Merry 
Wives of Windsor, iv. 5. 

Antiates (of Antium), Coriolanus, i. 6. 

Antic (buffoon in a farce), Much Ado about Nothing, Hi. 1, and 
in other passages. The word antic, or antique, is also used as the 
name of a dance, Macbeth, iv. 1 ; Love's Labour's Lost, v. 1. 

Anticipation, Merchant of Venice, ii. 6 ; pleasure of, AWs Well 
that Ends Well, ii. 4; Richard II., ii. 3; the imaginary relish, 
Troilus and Cressida, Hi. 2. 

Antigonus, a character in A Winter's Tale, a lord at the 
court of Leontes, introduced in ii. 1. Like his wife, Paulina, he is 
at first an outspoken advocate of the suspected queen ; but he 
afterward weakens and is sent by the king to dispose of Perdita. 
He is killed by a bear, Hi. 1, when on the way to his ship after leav- 
ing her on the desolate coast of Bohemia ( ! ). 



14 INDEX TO SHAKSPERE'S WORKS. 

Antioch, scene of a part of Pericles. 

Antiochus, King of Antioch, character in Pericles, Prince of 
Tyre, introduced in *. 1 ; his death, ii. 4. His daughter, also a char- 
acter in the play, a beautiful woman whose many suitors were given 
the alternative of guessing a riddle or having their heads set on the 
palace-gate, is introduced in i. 1 ; her death, ii. 4. 

Antiopa, Midsummer- Night's Dream, ii. 1. An Amazon, 
daughter of Mars. 

Antipathies, instinctive, Merchant of Venice, iv. 1; of con- 
traries, Lear, ii. 2. 

Antipholus, the name of twin brothers in the Comedy of Er- 
rors, who were separated in infancy, one being taken to Ephesus, the 
other to Syracuse. The resemblance between them and that between 
their servants, the Dromios, is the source of the errors. Antipholus 
of Ephesus is introduced in Hi. 1, Antipholus of Syracuse in i. 2. 

Antipodes, the, Much Ado about Nothing, ii. 1; Merchant of 
Venice, v. 1; Richard II, Hi. 2 ; III. Henry VI, i. 4* 

Antiquity, Hamlet, iv. 5 ; Sonnet Ixviii ; the service of the 
antique world, As You Like It, ii. 3. In the sense of age, see Age. 

Antium, the Volscian capital, scene of Coriolanus, iv. 4, 5. 

Antoniad, the, Cleopatra's ship, Antony and Cleopatra, Hi. 8 or 
10. 

Antonio, brother of Prospero, in The Tempest, whose place and 
title as Duke of Milan he has usurped, first appears in i. 1. So far 
from repenting of his crime, he urges Sebastian, brother of the King 
of Naples, to commit a similar crime, and is willing himself to be the 
assassin. 

Antonio, father of Proteus in the Two Gentlemen of Verona, 
appears in i. 3. 

Antonio, brother of Leonato, in Much Ado about Nothing, in- 
troduced in i. 2. 

Antonio, the merchant who is to lose the pound of flesh in The 
Merchant of Venice. He is the first speaker in the play. Although 
possessed of great wealth, he seems to care neither for hoarding nor 
spending it. The only passion he seems to have shown is his hatred 
of Shylock's usurious practices, intensified by the Christian hatred of 
his age for Shylock's race. Quiet, melancholy, and somewhat negative 
in character, he stands among the more lively personages of the play 
a sufferer rather than an actor. 

Antonio, a sea-captain in Twelfth Night, introduced in ii. 1, a 
constant friend of Sebastian. 



INDEX TO SHAKSPERE'S WORKS. 15 

Antonius, Marcus, Marc Antony, character in Julius Caesar, 
introduced in i. 2; Cassius proposes that he shall die with Caesar, 
ii. 1; his message to Brutus, and lament over Caasar, Hi. 1; his 
funeral oration, Hi. 2. 

Also a character in Antony and Cleopatra, introduced in i. 1; his 
soldierly endurance, i. 4; Lepidus's praise of, travestied, Hi. 2 ; in 
defeat, Hi. 2; complaint against Caesar, Hi. 4; his division of his 
kingdoms, Hi. 6; resolved to fight by sea, Hi. 7; at Actium, Hi. 8- 
10; shame and despair, Hi. 9 or 11, 11 or 13; challenge to Caesar, 
Hi. 11 or 13, iv. 1 ; parting with his followers, iv. 2 ; portent of his 
fall, iv. 3 ; in supposed victory, iv. 8; in despair, iv. 10 or 12; 12 
or 14; his death, iv. 12 or 14; 13 or 15; lamented by Caesar, v. 1; by 
Cleopatra, v. 2. 

" He refined the rough features of Marc Antony into the charac- 
ter of an Alcibiades. He passed silently over the youth of his hero, 
he took from him his tendency to cruelty, covered the misdeeds of 
the triumvirate with a veil, showed only the best side of his rapacity 
and lavish prodigality, spoke loudly of his warlike past, his victory 
over Brutus and Cassius, his heroic endurance of hunger and want 
after his defeat at Modena, and strove especially to make his hero 
interesting on the score of brilliant natural gifts. It is not to be dis- 
puted that Shakspere by these touches brought out the most attract- 
ive side of Antony. Even in the voluptuary and the profligate 
there is an alluring charm in the ready versatility, the natural supe- 
riority, the variety of talent, the abundance of resources, and in the 
natural aptness to fill any part. Antony was indeed a man thus 
variously endowed." — Gervinus. 

" Antony is a man of genius, with many splendid and some gen- 
erous qualities, but self-indulgent, pleasure-loving, and a daring 
adventurer, rather than a great leader of the state." — Dowden. 

Antony and Cleopatra, a tragedy, first published in the folio 
of 1623, is supposed to have been written in or near the year 1607, 
both from internal evidence and from the fact that in 1608 a book 
bearing the name was registered for publication, though for some 
reason it was not published, by Edward Blount, publisher of the first 
folio. It follows Plutarch's " Life of Antony " closely, beginning 
in the year 40 b. c, when Fulvia died, and covering a period of 
about ten years. The scenes are laid in Alexandria, Rome, Mise- 
nura, Athens, near Actium, Messina, and on a plain in Syria. White 
calls this, poetically, the most splendid creation of Shakspere's 
genius, an opinion in which he follows Coleridge, who says : 

" Of all Shakspere's historical plays, Antony and Cleopatra is by 
far the most wonderful. There is not one in which he has followed 
history so minutely, and yet there are few in which he impresses the 



16 INDEX TO SHAKSPERE'S WORKS. 

notion of angelic strength so much, perhaps none in which he im- 
presses it more strongly. This is greatly owing to the manner in 
which the fiery force is sustained throughout, and to the numerous 
momentary flashes of nature counteracting the historic abstraction." 

Antres (caves), Othello, i. 3. 

Ape(s), the famous, Hamlet, Hi. 4, allusion to some forgotten 
story ; foreheads of, The Tempest, iv. 1 ; lead, in hell, Much Ado 
about Nothi?ig, ii. 1 ; Taming of the Shrew, ii. 1. The proverbial 
future punishment of old maids was to lead apes in hell. 

Apemantus, a cynic, character in Timon of Athens, introduced 
in i. 1. 

"Diogenes, in Lily's 'Alexander and Campaspe,' sat to the 
poet for Timon's contrast, the cynic Apemantus ; the quick, strik- 
ing, epigrammatic answers to questions, which seem to be inserted 
here and there too much for the sake of eliciting witty replies, are 
quite on this model. The description of this antique fool is so per- 
fect in its way that it is supposed Shakspere must have seen the 
short sketch of a cynic, which, in Lucian's " Public Sale of Philoso- 
phers,' is put into the mouth of Diogenes. It is there said that, in 
order to belong to this sect, a man must be bold and shameless, and 
revile every one from the king to the beggar ; thus he will draw all 
eyes upon him, and appear manly. His speech must be barbarous, 
his voice dissonant, and exactly like a dog's ; his face rigid, his ex- 
pression the same, and altogether he must be brutish and rough. 
Shame, equity, and moderation must be dispensed with, and blushes 
must be wholly banished from his countenance." — Gervinus. 

Aphrodisiacs, the potato, eringo, Merry Wives of Windsor, 
v. 5. 

Apollo, lute of, Love's Labour's Lost, iv. 3 ; and Daphne, M id- 
summer- Night's Dream, ii. 1; Troilus and Cressida, i. 1; plays, 
Taming of the Shrew, Induction, 2 ; oracle of, consulted, A Winter's 
Tale, ii. 1 ; Hi. 1, 2 ; v. 1. 

Apologies : Proteus's to Valentine, Two Gentlemen of Verona, 
v. 4 ; Antony's to Octavius, Antony and Cleopatra, ii. 2. 

Apostle-spoons. See Spoons. 

Apothecary, and his shop, Romeo and Juliet, v. 1. 

Apparel, honour in the meanest, Taming of the Shrew, iv. 3 ; oft 
proclaims the man, Hamlet, i. 3 ; vices appear through mean, King 
Lear, iv. 6. 

Apparitions: of hunters and hounds, The Tempest, iv. 1; of 
Caesar, Julius Cmsar, iv. 3; of Macduff, Malcolm, and the eight 
kings, Macbeth, iv. 1. These are the Stuart kings to James V., said 
to have been descended from Banquo. The many more, some with 
twofold balls and treble sceptres, James VI. (James I. of England) 



INDEX TO SHAKSPERE'S WORKS. 17 

and his posterity, who were to reign over the united kingdom ; of 
Hamlet's father, Hamlet, i. 1, 4-, 5. See also Ghosts. 

Appeached (accused), All's Well that Ends Well, i. 3. 

Appeal, the boisterous late, Richard II, i. 1. The accusation 
made against Norfolk of high treason. 

Appearance, judging by the, Merchant of Venice, ii. 7 ; Hi. 2; 
Twelfth Night, i. 2, " There is a fair behaviour," etc. ; Pericles, ii. 2. 

Apperil (endanger), Timon of Athens, i. 2. 

Appetite, of her eye, Merry Wives of Windsor, i. 3; digestion 
wait on, Macbeth, Hi. 4; grown with what it fed on, Hamlet, i. 2 ; 
and judgment, Lover's Complaint, I. 166. 

Applause, Henry VI1L, iv. 1, " Such a noise arose," etc. 

Apple-Johns (apples with wrinkled skin), that would keep two 
years, II. Henry IV., ii. 4> 

Apply (ply), Taming of the Shrew, i. 1. 

Appreciation, after loss, AWs Well that Ends Well, v. 3. 

Approbation, receive her (enter on her probation), Measure for 
Measure, i. 3. 

Apricock (apricot), Midsummer-Night 's Dream, Hi. 1; Richard 

11., m. 4. 

April, spongy, The Tempest, iv. 1 ; love like, Two Gentlemen of 
Verona, i. 3. 

Aquitaine (a duchy in southwestern France), surrender of, Love's 
Labour's Lost, i. 1; ii. 1. 

Arabia, wilds of, Merchant of Venice, ii. 7 ; perfumes of, Mac- 
beth, v. 1; trees of, Othello, v. 2; bird of, Antony and Cleopatra, 
Hi. 2 ; Cymbeline, i. 7. 

Arch (chief), King Lear, ii. 1. 

Archbishop, an, rebuked for rebellion, II. Henry IV., iv. 2. 

Archbishops of Canterbury. See Bourchier, Canterbury, 
Cranmer. 

Archbishops of York. See Rotherham, Scroop, York. 

Archelaus, King of Cappadocia, Antony and Cleopatra, Hi. 6. 

Archery, allusions to : wide o' the bow-hand (far from the mark), 
Love's Labour's Lost, iv. 1; flight and bird bolt (long and short 
shot) — to cry aim (to encourage), Merry Wives of Windsor, ii. 3; Hi. 
1; King John, ii. 1; in a bottle like a cat, Much Ado about Nothing, 
i. 1 ; the very pin of his heart cleft, etc., Romeo and Juliet, ii. 4. 
The clout, which was the pin, the very centre of the target, is spoken 
of in many places. Love's Labour's Lost, iv. 1; II. Henry IV., Hi. 2 ; 
King Lear, iv. 6. 



18 INDEX TO SHAKSPERE'S WORKS. 

Archibald, Earl of Douglas. See Douglas. 

Archidamus, an unimportant character in A Winter's Tale, an 
attendant of Polixenes, appears in i. 1. 

Arde, in Picardy, Henry VIII., i. 1. 

Ardea (a city south of Rome), siege of, Lucre ce, argument, and 
1.1. 

Arden, the forest of. See As You Like It. 

Argier (old English name of Algiers), The Tempest, i. 2. 

Argosy (ies), Antonio's, Merchant of Venice, i. 1, 3; Hi. 2; 
choked with an, Taming of the Shrew, v. 1. 

Argument (cause), Henry V., Hi. 1 ; Troilus and Cressida, i. 
1; Hamlet, iv. 4. 

Argus, the hundred-eyed, Love's Labour's Lost, Hi. 1 ; Troilus 
and Cressida, i. 2. 

Ariachne (Arachne, the spider), Troilus and Cressida, v. 2. 

Ariadne (daughter of Minos, King of Crete ; she was deserted 
by her lover Theseus, whom she had rescued from the labyrinth), 
Two Gentlemen of Verona, iv. 4 ; Midsummer-Night's Dream, ii. 1. 

Ariel, an airy spirit in The Tempest, whose service Prospero has 
secured by the exercise of his magic power. 

" Grace, tenderness, speed, and especially freedom and lightness, 
the properties of his element, are peculiar to him. . . . Whilst the 
other spirits hate the magician, yet are compelled to serve him, 
Ariel obeys him thankfully and truly, without lies, without mistakes, 
without a murmur ; for this, his perfect freedom, his all, is promised 
him within a certain time, and of this time, for good service, one 
year is abated. But even to wait this abridged time is painful to 
him. It is exquisitely conceived and very beautiful. What a pecul- 
iarly melancholic character the poet has cast over the being and re- 
lations of this creature, divided. as he is between a superior nature 
and the aspirings of higher feelings ! . . . His lord will miss him 
when he has given him his freedom ; but he, the airy creature, will 
feel no longing after his dear master, whom he only seems to love 
for the sake of his promised freedom. He asks for more, for speed- 
ier freedom, and Prospero must, once in a month, recount to the 
quickly forgetting spirit the benefit he has received of his hands ; 
then the variable servant struggles with his fluctuating nature, and 
is again all obedience, fidelity, and promptness." — Gervinus. 

Aries (the ram), Titus Andronicus, iv. 3. 
Arion, rescued by the dolphin, Twelfth Night, i. 2. 
Aristotle, Taming of the Shrew, i. 1; quoted by Hector, Troilus 
and Cressida, ii. 2. Aristotle lived 800 years after the Trojan war. 
Ark, couples coming to the, As You Like It, v. 4. 
Armado, Don Adriano de, a character in Love's Labour's Lost, 



INDEX TO SHAKSPERE'S WORKS. 19 

introduced in *. 2, a fantastical Spaniard, full of sounding words and 
boastings, but cowardly and of low instincts, chosen by the king to 
amuse him and his fellow-students in their seclusion. 

Armagnac, Earl of, I. Henry VI., v. 5. 

Arm-gaunt, Antony and Cleopatra, i. 5. There is no satisfac- 
tory explanation of this word. It is sometimes read "arm-girt," 
covered with armour. 

Armigero (armiger), Merry Wives of Windsor, i. 1. One who 
bears arms, a gentleman. Written after the name in law-papers. 

Arms, coats of. See Heraldry. 

Army, composition of an, King John, ii. 1 ; coming of an, King 
John, iv. If.; appeal to an, Henry V., Hi. 1 ; embarkation of an, Hen- 
ry V., Hi., chorus ; spoiled trappings of an, Henry V., iv.3 ; a ragged, 
II. Henry VI., iv. 4 ,' contempt for an opposing, Richard III., v. 3. 

Aroint (a vaunt), Macbeth, i. 3 ; King Lear, Hi. 4> Said to be 
still used in the north of England, in some places pronounced rynt. 

Aragon, the Prince of, one of the suitors of Portia in Merchant 
of Venice, appears in ii. 9, and loses her by choosing the silver 
casket. 

Arras, hide behind the, I. Henry IV., ii. 4, and in many other 
places. It was placed on wooden frames or on hooks far enough 
from the wall to keep it from dampness ; figures on, Cynibeline, ii. 2. 

Arrogance, fed by supple knees, Troilus and Cressida, Hi. 3. 

Art, magic, The Tempest, i. 2 ; modifying nature, A Winter's 
Tale, iv. 3 or 4; in painting, Lucrece, I. 1373. See Painting and 
Pictures. 

Artemidorus, a sophist of Cnidos, character in Julius Caisar, 
appears in ii. 3 and Hi. 1, with a warning for Caesar. Plutarch says 
he was a doctor of Greek rhetoric, and, knowing the designs of the 
conspirators, with whom the practice of his profession had brought 
him into contact, tried to warn Caesar. His warning, ii. 3 ; Hi. 1. 

Arteries and Veins, Merchant of Venice, Hi. 2; Love's 
Labour's Los?, iv. 3 ; King John, Hi. 3 ; Richard III., i. 2 ; Troilus 
and Cressida, iv. 1 ; Coriolanus, v. 1; Romeo and Juliet, v. 1; Hum- 
let, i. 4. See also Blood, Circulation of the. 

Arthur, Duke of Brittany, a character in King John, was the 
nephew of John and of Richard L, and by the latter designed, at 
one time at least, as his successor. Arthur was born in 1188, and is 
supposed to have been put to death at John's orders after being 
made prisoner by him in 1202. He was imprisoned at the castle of 
Falaise in Normandy, and afterwards in the castle of Rouen, where 



20 INDEX TO SHAKSPERE'S WORKS. 

he is supposed to have met his death — not. as in the play, in Eng- 
land. He was undisputed heir to Anjou, Touraine, and Maine, and 
Duke of Brittany. As such he was a vassal of Philip, who took up 
his cause for his own interest, and went to war with John. Arthur 
first appears in it. 1. He is gentle, innocent, and unambitious, yet 
in the scene with Hubert shows a high degree of childish wisdom. 
This scene is one of the finest in the play. His death, iv. 3. 

Arthur's Show, II. Henry IV., Hi. 2. An exhibition of arch- 
ers, who took the names of Arthur's knights. Sir Dagonet was a 
sort of fool to the king. 

Arundel, Archbishop. See Canterbury. 

Arviragus, son of Cymbeline, disguised under the name of Cad- 
wal. See Guiderius. 

Ascanius (son of ^neas), II. Henry VI, Hi. 2. It was Cupid 
disguised as Ascanius that talked to Dido. 

Ascapart (a legendary giant), II. Henry VI, ii. 3. 

Asher House, Henry VIII, Hi. 2. See Esher House. 

Ashes, as the phoenix, III. Henry VI, i. 4; show cinders 
through, Antony and Cleopatra, v. 2. 

Asmath, a spirit, II. Henry VI, i. 4. 

Asp, the, Antony and Cleopatra, v. 2. 

Aspiration, shown by the gait, Troilus and Cressida, iv. 5. 

Ass, a thrice double, Tempest, v. 1 ; Dogberry would be writ 
down an, Much Ado about Nothing, iv. 2 ; Bottom transformed into 
an, Midsummer- Night's Dream, Hi. 1, 2 ; more captain than the 
lion, Timon of Athens, Hi. 5 ; beating an, Hamlet, v. 1 ; allusion to 
the fable of the old man and the ass, King Lear, i. 4, " Thou borest 
thine ass/' etc. 

Assinego (little ass), Troilus and Cressida, ii. 1. 

Associates, influence of, Merchant of Venice, Hi. 4, " In com- 
panions," etc. ; pitch doth defile, I. Henry IV., ii. 4 >' let men take 
heed of their company, II Henry IV., v. 1; keep where wit is 
stirring, Troilus and Cressida, ii. 1 ; thou art noble, Julius Caisar, 
i. 2 ; converse with him that is wise, King Lear, i. 4. 

Assurance, made doubly sure, Macbeth, iv. 1. 

Astonishment, signs of, A Winter's Tale, v. 2 ; " They spake 
not a word," etc., Richard III, Hi. 7 ; at prodigies, Julius Caisar, i. 3. 

Astringer, a Gentle, character in All's Well that Ends Well, in- 
troduced in v. 1. A falconer that kept goshawks was so called. 

Astrology, allusions to, The Tempest, i. 2; Two Gentlemen of 
Verona, ii. 7 ; born under Saturn, Much Ado about Nothing, i. 3 ; un- 



INDEX TO SHAKSPERE'S WORKS. 21 

der a dancing star, Much Ado about Nothing, ii. 1; under a rhyming 
planet, Much Ado about Nothing, v. 2 ; under Mars, Alt's Well that 
Ends Well, i. 1 ; the luckiest stars, All's Well that Ends Well, i. 3; 
the most received star, All's Well that Ends Well, ii. 1 ; born under 
Taurus, Twelfth Night, i. 3 ; constellation right apt, Twelfth Night, 
i. 4 ; stars shine darkly, Twelfth Night, ii. 1 ; in my stars I am, 
Twelfth Night, ii. 5 ; a bawdy planet, A Winter's Tale, i. 2 ; some 
ill planet, A Winter's Tale, ii. 1; dishonour my fair stars, Richard 
II., iv. 1 ; malevolent to you, I. Henry IV., i. 1 ; Glendower's na- 
tivity, 1. Henry IV., Hi. 1; ruled like a wandering planet, II. Henry 
VI, iv. 4 ; my thwarting stars, 111. Henry VI, iv. 6 ; star-crossed 
lovers, Romeo and Juliet, i., prologue ; yet hanging in the stars, Ro- 
meo and Juliet, i. 4,' inauspicious stars, Romeo and Juliet, v. 3 ; not 
in our stars, Julius Cazsar, i. 2 ; fortune's star, Hamlet, i. 4 ,' out of 
thy star, Hamlet, ii. 2 ; orbs from whom we exist, King Lear, i. 1 ; 
eclipses, King Lear, i. 2 ; the stars blamed for the vices of men, 
King Lear, i. 2 ; your great aspect, King Lear, ii. 2 ; it is the stars, 
King Lear, iv. 3 ; my good stars, Antony and Cleopatra, Hi. 11 or 
13 ; our bloods obey, Cymbeline, i. 1 ; learned indeed, Cymbeline, 
Hi. 2 ; senate-house of planets, Pericles, i. 1 ; stars that frown, Peri- 
cles, i. 4 > a chiding nativity, Pericles, Hi. 1 ; mortal stars, Lucrece, 
I. 13 ; not from the stars, Sonnets xiv., xv. ; in favour with their 
stars, Sonnet xxv. ; whatsoever star, Sonnet xxvi. ; crooked eclipses, 
Sonnet ix. 

Astronomers, have no more profit, Love's Labour's Lost, i. 1. 

Astronomy (astrology), Sonnet xiv. 

As You Like It, a comedy first printed in 1623, though it was 
entered in the "Stationers' Register "for publication in 1600. It 
must have been written between 1598 and 1600. The story is taken 
from a tale by Thomas Lodge, " Rosalynde : Euphues' Golden Lega- 
cie," first published in 1590, and reprinted at least ten times before 
1642. The characters of Jaques, Touchstone, and Audrey are not in 
the story ; and Shakspere changed the names of those he took, ex- 
cepting Rosalind, Phoebe, Charles, and Adam (Adam Spencer in the 
story). The scene of the play is in the Forest of Arden and in 
France, though it does not correspond to Ardennes, and both place 
and time are indefinite, intentionally so, as the character of the play 
does not require definiteness in these respects. 

Atalanta, the better part of, As You Like It, Hi. 2, verses. 

Ate (goddess of Discord), Much Ado about Nothing, ii. 1 ; King 
John, ii. 1 ; Julius Caisar, Hi. 1. 



22 INDEX TO SHAKSPERE'S WORKS. 

Ates, more, Loves Labour's Lost, v. 2. 

Athens, scene of the Midsummer-Night'' s Dream, Timon of 
Athens, and part of Antony and Cleopatra. 

Athol, Earl of, I. Henry IV, i. 1. 

Atlas (the Titan supposed to support the heavens), 111. Henry 
VI, v. 1 ; Antony and Cleopatra, i. 5. 

Atomies, shut coward gates on, As You Like It, Hi. 5 ; a team 
of, Romeo and Juliet, i. fy. 

Atone (to reconcile or be reconciled), Coriolanus, iv. 6; Othello, iv. 1. 

Atonement of Christ, reference to the, Measure for Measure, 
it. 2, " Why, all the souls," etc. 

Atropos (one of the Fates, the one that cut off the thread), II. 
Henry IV., ii. J^. 

Attempt, the, confounds us, Macbeth, ii. 2. 

Attorney (substitute), Comedy of Errors, v. 1. 

Audacious (spirited), Lovers Labour's Lust, v. 1. 

Audacity, arm me, Cymbeline, i. 7. 

Audit, Coriolanus, i. 1 ; Sonnets iv., xlix. See Account. 

Audrey, an honest and ugly country girl in As You Like It, 
married to the clown Touchstone, introduced in Hi. 3. 

Aundius, Tullus, general of the Volscians, character in Corio- 
lanus, introduced in i. 2 ; his bravery, i. 1; fights with Marcius 
(Coriolanu), i. 8; his hatred to him, i. 10; joins him, iv. 5 ; his 
jealousy, iv. 7. He has the same desire for military glory that 
Coriolanus has; but he is of a much smaller and meaner nature. 
His great ambition is to conquer Coriolanus, and for this he is will- 
ing to use any means, however dishonourable ; and Coriolanus falls 
at last through his malicious trickery. 

Augurer. See Soothsayer. 

Auguries, of success, Cymbeline, iv. 2 ; " Last night the very 
gods," etc. See Omens. 

Augustus Caesar, demands tribute, Cymbeline, Hi. 1; charac- 
ter in Antony and Cleopatra. See Caesar. 

Aumerle, Edward, Duke of, son of the Duke of York, character 
in Richard II, first appears in **. 3. He was high constable, and was 
deprived of his dukedom for adhering to Richard, but allowed to 
retain the earldom of Rutland, " Call him Rutland " (v. 2). In Henry 
V. he is again spoken of, now an old man and Duke of York, as dying 
on the field of Agincourt (Henry V., iv. 6). 

" The character of the Duke of Aumerle, who plays no brilliant 
part in Richard II. after his mother had saved him from the pun- 



INDEX TO SHAKSPERE *S WORKS. 23 

ishment of high treason, and has prayed to God to make ' her old son 
new,' is again silently brought forward by the poet in Henry V., a 
new man indeed, who has become great with the heroic age, and dies 
the death of a hero at Agincourt." — Gervinus. 

Aunt, an old, Troilus and Cressida, ii. 2. Hesione, sister of Priam. 

Austria, Leopold, Archduke of, a character in King John, where 
he is made identical with Vidomar, Viscount of Lymoges, in a quarrel 
with whom Richard I. of England fell, having been shot by one of 
the viscount's vassals while besieging the castle of Chaluz. The 
archduke died before Richard. 

Authority, the demigod, — new, Measure for Measure, i. 3; 
" Whether it be the fault," etc. ; a little brief, — hath a medicine in 
itself, Measure for Measure, ii. 2 ; abuse of, Measure for Measure, 
ii. 4; vice in, Measure for Measure, iv. 2; danger of divided, Corio- 
lanus, Hi. 1 ; a dog in office — great image of, King Lear, iv. 6. 

Authorship. Following is a summary of the plays that are 
generally supposed to have been written in part by other hands than 
Shakspere's : 

Titus Andronicus is thought by most critics to have been the 
work of an earlier dramatist and merely touched up by Shakspere, 
though some suppose it to be mainly his own work, and attribute its 
inferiority to the fact of its being his earliest play. 

The three parts of King Henry VI., which are recasts of two 
older plays, show other hands than Shakspere's. The general opin- 
ion seems to be that Marlowe, Greene, Peele, and possibly Shakspere 
wrote the old plays, and that they were revised by Shakspere, with 
possibly the help of Marlowe. 

King Richard III. is referred in part to Marlowe by some critics ; 
others suppose that the passages ascribed to Marlowe were written 
by Shakspere under the influence of Marlowe, his probable collabo- 
rator on King Henry VI. 

Alarge part of Henry VIII. is judged to be by Fletcher, viz., 
act i., scenes 3 and 4 ; the first two scenes of act ii. ; all of the third 
act except the second scene to the exit of the king ; and all the re- 
mainder except the first scene of act v. 

The first and second acts of Pericles, and the second, fifth, and 
sixth scenes of the fourth act, and the choruses, are attributed to 
some other author or authors. 

Shakspere's part in Taming of the Shrew is limited by some 
critics to those parts in which Petruchio, Katherine, and Grumio 
appear prominently. 



21 INDEX TO SHAKSPERE'S WORKS. 

Parts of the witch-scenes in Macbeth have been conjectured to 
be the work of Thomas Middleton, author of the play " The Witch," 
who is supposed to have assisted in preparing Macbeth for the stage. 

Others have seen traces of other hands in small portions of the 
Comedy of Errors, Much Ado about Nothing, the part of Hymen in 
As You Like It, Romeo and Juliet, and Timon of Athens; and the 
passage at the end of act Hi. in Measure for Measure, the song be- 
ginning act iv., and the fool's rhymes at the end of King Lear, Hi. 
2, are supposed to be interpolations. 

Many plays have been ascribed to Shakspere that are not in- 
cluded in the ordinary editions of his works. Of these The Two 
Noble Kinsmen has the greatest weight of opinion in its favour. It 
purports to be the work of Fletcher and Shakspere. A part of the 
first and all of the second act of Edward III. have been attributed 
to him, and he is also supposed by some to have had a hand in The 
Yorkshire Tragedy. Other plays that have been thought to bear 
traces of his hand are Arden of Feversham, The Birth of Merlin, 
Fair Emm, George a Green, 'Larum for London, The Merry Devil 
of Edmonton, Mucedorus, and Warning for Fair Women. 

Autolycus, an amusing and unique character in A Winter's 
Tale, a pedlar, thievish and witty. 

" The art of thieving as practised by him is no crime, but the gift 
of some knavish god. He does not trample on the laws of morality, 
but dances or leaps over them with so nimble a foot that we forbear 
to stay him." — Dowden. 

Auvergne, Countess of, a character in 7. Henry VI , first ap- 
pears in ii. 3, having sent for Talbot (ii. 2), in hopes to keep him as 
a prisoner. This incident is not in history. 

Avarice, Malcolm accuses himself of, Macbeth, iv. 3. 

Aversions, instinctive, Merchant of Venice, iv. 1. 

Avoid (avaunt), Comedy of Errors, iv. 3. 

Away with, cannot (cannot endure), II. Henry IV., Hi. 2. 

Awful (law-abiding), Two Gentlemen of Verona, iv. 1 ; (respect- 
ful toward authority), II. Henry IV., iv. 1. 

Awkward (perverse), Pericles, v. 1. 

Aye-word, gull him into an (make a by-word of him by gulling 
him?), Twelfth Night, ii. 3. 

Babe, a cast-away, A Winter's Tale, ii. 3, near the end ; love for a, 
Macbeth, i. 7 ; at my breast (the asp), Antony and Cleopatra, v. 2. 
Baccare (to check over-forwardness), Taming of the Shrew, ii. 1 



INDEX TO SHAKSPERE'S WORKS. 25 

Bacchus, song to, Antony and Cleopatra, ii. 7. 

Bachelor, of threescore, a, Much Ado about Nothing, i. 1; de- 
termination to live a, Much Ado about Nothing, i. 1, ii. 3 ; less hon- 
ourable, As You Like It, in. 3. 

Backgammon, spoken of under its old name "tables" in 
Love's Labour's Lost, v. 2. 

Baffle, I Henry IV., i. 2. To hang up by the heels ; punish- 
ment of a recreant knight, probably alluded to again in 77. Henry 
IV., i. 2, "to punish him by the heels," and in AIVs Well that 
Ends Well, iv. 3, " his heels have deserved it," etc. 

Baffled (abused), Richard II, i. 1. 

Bagot, Sir William, a character in Richard II, introduced in i. 
3, a parasite of the king. 

Bag-pipe, the melancholy, A Winter's Tale, iv. 3 ; I. Henry 
IV., i. 2. 

Bailie (give), Merry Wives of Windsor, i. 4. 

Bajazet's mute, All's Well that Ends Well, iv. 1. Meaning un- 
known. 

Balcony-scene, Romeo and Juliet, ii. 2. 

Balked (heaped or buried), I Henry 1 V., i. 1. A balk is a little 
mound or ridge. 

Ballad(s) : of the king (Cophetua) and the beggar, Love's La- 
bour's Lost, i. 2 ; Quince to write a, Midsummer-Night's Dream, iv. 
1 ; sale of, A Winter's Tale, iv. 5 or 4; as a means of revenge, I. 
Henry IV., ii. 2 ; dread of being the subject of, Antony and Cleo- 
patra, v. 2, "And scaled rhymers," etc. 

Ballad-mongers, I. Henry IV., Hi. 1. 

Ballow (staff), King Lear, iv. 6. 

Balm, healing of wounds by, III. Henry VI, iv. 8 ; Timon of 
Athens, Hi. 5 ; Macbeth, ii. 2 ; meaning the oil for anointing kings, 
Richard II, Hi. 2 ; 111. Henry VI, Hi. 1 ; medicinal gum, Othello, 
v. 2. 

Balthasar, a servant of Portia in Merchant of Venice, Hi. 4. 

Baltha3ar, Romeo's servant, appears in Romeo and Juliet, i. 1 
and v. 3. 

Balthazar, a merchant in Comedy of Errors, appears in Hi. 1. 

Balthazar, a servant of Don Pedro in Much Ado about Noth- 
ing, introduced in i. 1. 

Banbury cheese, Slender called, Merry Wives of Windsor, i. 1. 
It was poor and thin. 

Bangor, in Wales, scene of part of 1. Henry IV. 



26 INDEX TO SHAKSPERE'S WORKS. 

Banishment, Two Gentlemen of Verona, Hi. 1 ; iv. 1; of Rosa- 
lind, As You Like It, i. 3 ; of Bolingbroke and Norfolk, Richard 
II., i. 3 ; the bitter bread of, Richard II., in. 1 ; of Coriolanus, Hi. 
3; of Romeo, Hi. 2, 3 ; of Alcibiades, Timon of Athens, Hi. 5 ; of 
Kent, King Lear, i. 1 ; real, King Lear, i. 1. 

Bank'd, their towns (passed by the towns on the banks of riv- 
ers), King John, v. 2. 

Bankrupt, a poor and broken, As You Like It, ii. 1; heart, 
a, Romeo and Juliet, Hi. 2 ; servants of a, Timon of Athens, 
iv. 2. 

Bankruptcy, Timon of Athens, H. 2 ; Hi. 2. 

Banners, on outer walls, Macbeth, v. 5. 

Banquet, served by spirits, The Tempest, Hi. 3 ; of the Capu- 
lets, Romeo and Juliet, i. 5 ; for a mother, of her son's flesh, Titus 
Andronicus, v. 2, 3. 

Banquo, an important character in Macbeth, a general in the 
army that suppressed the revolt, i. 2. The witches prophesy, in i. 3, 
that he shall be the father of a line of kings. See Apparitions. 
Like Macbeth, he is tempted to take measures for realizing the 
prophecy, ii. 1, -'Restrain in me the cursed thoughts," etc., but he 
thrusts aside the temptation, and preserves his integrity and his loy- 
alty. He is described by Macbeth, in Hi. 1, and his murder planned ; 
murdered, Hi. 3 ; his ghost appears to Macbeth, Hi. J/.. 

Baptism, of Elizabeth, Henry VIII, v. 5 ; symbol of, Henry V., 
i. 2 ; Othello, ii. 3. 

Baptista, the player-queen in Hamlet, Hi. 2. A man's name, 
though with the feminine ending. 

Baptista Minola, father of Katherina and Bianca in Taming 
of the Shrew, introduced in i. 1 — a "narrow-prying father." 

Bar, Duke of, mentioned, Henry V., Hi. 5; iv. 8. 

Barabbas, Merchant of Venice, iv. 1. (See Matthew, xxvii. 20.) 

Barbarians, Roman, Coriolanus, Hi. 1. 

Barbary, Bolingbroke's horse, Richard II, v. 5. - 

Barbason (a demon), Merry Wives of Windsor, ii. 2, end ; Hen- 
ry V., H. 1. 

Barber-monger (companion of barbers f), King Lear, ii. 2. 

Barber's shop, forfeits in a, Measure for Measure, v. 1. Allud- 
ing to the custom of imposing forfeits for bad conduct on the loun- 
gers in barber-shops. 

Barbury hen, a, II. Henry 1 V., ii. 4. 

Bardolph, Lord, character in II. Henry IV., appears in i. 1. 



INDEX TO SHAKSPERE'S WORKS. 27 

where he brings false news to Northumberland, and in i. 3, where he 
meets the other leaders of the rebellion. 

Bardolph, one of the disreputable companions of Fal staff, char- 
acter in the Merry Wives of Windsor, the two parts of Henry IV., 
and Henry V. In the first three he is a corporal, in the last lieutenant. 
He is introduced in the first scene of the Merry Wives of Windsor, 
and in the second acts of the other plays. He is a great drunkard, 
and his red nose is the inspiration of continual jests (Henry V., i. 2, 
3). Falstaff calls him the "Knight of the Burning Lamp." His 
character is described in Henry V., Hi. 2 ; his face, Hi. 6. He is 
sentenced for stealing a pyx, Hi. 6, and hanged, iv. 4, end. 

Barefoot, I must dance, Taming of the Shrew, ii. 1. Alluding 
to the notion that, if a younger sister were married first, the elder 
must dance barefoot at her wedding, or surely be an old maid. 

Bargain, sold him a (taken him in), Love's Labour's Lost, Hi. 1; 
close at a, I. Henry IV., Hi. 1. 

Barge, Cleopatra's, Antony and Cleopatra, ii. 2. 

Bargulus (or Bardylis), 11. Henry VI, iv. 1. Mentioned by 
Cicero. He was a pirate, and rose to be King of Illyria. 

Barkloughly Castle, Richard II, Hi. 2. No such castle is 
known. 

Barm (yeast), Midsummer-Night's Dream, ii. 1. 

Barnacles, we shall be turned to. The Tempest, iv. 1. There 
was a notion prevalent that the barnacle-goose was a transformation 
of the barnacle, an idea which gave rise to the custom in France of 
eating the bird on fast-days, as being of fishy substance. 

Barnardine, a brutish prisoner in Measure for Measure, intro- 
duced in iv. 3. 

Barnet, battle of (April 14, 1471), III H-nry VI, v. 2, 3. 

Barrenness, supposed cure for, Julius Cmsar, i. 2. 

Bartholomew, a page who plays the part of Sly's wife in the 
induction to the Taming of the Shrew. 

Bartholomew-pig, II Henry IV., ii. 4. Allusion to the 
roasted pigs which were a feature of the Smithfield Fair on Saint 
Bartholomew's Day. 

Bartholomew-tide (August 24), Henry V., v. 2. 

Basan, the hill of, Antony and Cleopatra, Hi. 11 or 13. (See 
Psalm xxii., 12.) 

Base, prisoner's, allusions to, Two Gentlemen of Verona, i. 2 ; 
the country, Cymbeline, v. 4; Venus and Adonis, I. 303; to bid the 
wind a base, to challenge it to run a race. 



28 INDEX TO SHAKSPERE'S WORKS. 

Basilisco-like, King John, i. 1. Name of a character, a brag- 
gart knight, in an old play, Soliman and Perseda, who insists on 
being addressed by his title. 

Basilisk, the (or cockatrice), allusions to its supposed power of 
poisoning by its look, Twelfth Night, Hi. 4 ; A Winter's Tale, i. 2 ; 
II. Henri/ VI, Hi. 2 ; III Henry VI, Hi. 2; Richard III, i. 2; 
iv. 1; Romeo and Juliet, Hi. 2 ; Cymbeline, ii. 4; Lucrece, I. 5Jfi. 

Basilisks (pieces of ordnance), I. Henry IV., ii. 3; Henry V., 
v. 2. 

Bassanio, a character in the Merchant of Venice, introduced in 
the first scene. It is to furnish him with the means to go as £ suitor 
to the rich Portia that Antonio has borrowed from Shylock, In the 
early part of the play Bassanio appears a selfish and criminally care- 
less fellow, a fortune-hunter, and hunting fortune at a fearful risk to 
his friend, whom he expects to repay with the money of his future 
wife. But in the later scenes of the play, when he makes his choice 
of the caskets, and particularly when Antonio is in danger and he is 
ready to sacrifice everything to his obligations to his friend, the 
more manly and genuine qualities of his nature are revealed, and 
justify the love in which he is held by Antonio and Portia. 

Basset, a character in I. Henry VI, a Lancastrian, appears in 
Hi. 4, in a quarrel with Vernon, and again in iv. 1. 

Bas3ianus, character in Titus Andronicus, brother of Saturni- 
nus, introduced in i. 1, where he offers himself as a candidate for the 
crown, and in the same scene he speaks of his love for Lavinia ; his 
murder, ii. 3. 

Basta (enough), Taming of the Shrew, i. 1. 

Bastard (wine), Measure for Measure, Hi. 2 ; I. Henry IV., 
ii. 4. 

Bastard of Orleans. See Orleans. 

Ba3tard(s), Perdita branded as a, A Winter's Tale, ii. 3 ; I love, 
Troilus and Cressida, v. 8 ; Edmund's soliloquy on, King Lear, i. 2 ; 
all, Cymbeline, ii. 4 ; in flowers, A Winter's Tale, iv. 3. 

Bat, the, Ariel's steed, 1 he Tempest, v. 1 ; flight of the, Macbeth, 
Hi. 2 ; wool of the, in the witches' cauldron, Macbeth, iv. 1. 

Bate (to blunt), Love's Labour's Lost, i. 1 ; (to flutter as a fal- 
con preparing for flight), Taming of the Shfi ew, iv. 1. 

Bates, a soldier in the king's army in Henry V., first appears in 
iv. 1. where he speaks his mind about the king to the king himself in 
disguise. 

Bath., a seething, Sonnets cliii., cliv. 



INDEX TO SHAKSPERE'S WORKS. 29 

Batler (used for beating soiled clothes in water), As You Like It, 
ii. 4. 

Battle, orders in, criticised, All's Well that Ends Well, Hi. 6 ; 
the dead in, King John, ii. 2 ; eagerness for, I. Henry IV., iv. 1, 
3, " No more, no more " ; conference before, /. Henry I V., v. 1 ; the 
sun on the morning of, I. Henry IV., v. 1; before a, Henry V., Hi. 
7 ; iv., chorus; iv. 2, 3 ; field of, Henry V., iv. 7 ; varying fortunes 
of, III. Henry VI., ii. 5 ; address to soldiers before, Richard III., 
v.3. 

Battle (often used instead of army), Jidius Ccesar, v. 1. 

Battles, Cymheline, v. 2, 3 ; in France, I. Henry VI, iv. 6; be- 
tween Greeks and Trojans, Troilus and Cressida, v. 4, 5, 6 ; between 
Glendower and Mortimer, /. Henry IV., i. 1 ; in France, I. Henry 
VI., iv. 6. See Actium, Agincourt, Barnet, Bos worth, Corioli, 
Dunsinane, Mortimer's Cross, Philippi, St. Alban's, Shrews- 
bury, Tewksbury, Towton, Wakefield. 

Bavin (kindling or brush-wood), i. Henry IV., Hi. 2. 

Bawcock (beau coq), used for brave boy, Tweljth Night, Hi. 4 ; 
A Winter's Tale, i. 2. 

Bay, three pence a, Measure for Measure, ii. 1; the distance 
between the beams of a house, by the number of which the sizes of 
houses were reckoned. 

Baynard's Castle, Richard III, Hi. 5. A house where Rich- 
ard had lived, on the bank of the river in Thames Street, London, 
said to have been built by a nobleman, Baynard, who came in with 
the Conqueror ; it was burned twice, the second time in 1666. 

Bayonne, Bishop of, Henry VIII, ii. 4. 

Bay-trees, are withered, Richard II, ii. 4. The bay-tree was 
supposed to keep off sickness and the devil, so that its withering was 
an evil omen. 

Beads (rosary), Comedy of Errors, ii. 2 ; Richard II, Hi. 3 ; 
Richard III, Hi. 7. 

Beadsman, I will be thy (will pray for thee), Two Gentlemen of 
Verona, i. 1. 

Beadsmen, Richard II, ii. 2. 

Bear, Antigonus killed by a. A Winter's Tale, Hi. 3; Sackerson, 
a famous, Merry Wives of Windsor, i. 1; a bush supposed a, Mid- 
summer-Night's Dream, v. 1 ; and ragged staff, arms of Warwick, 
II. Henry VI, v. 1 ; unlicked whelp of a, III. Henry VI., Hi. 2 ; 
betrayed with glasses, Julius Cmsar, ii. 1. 

Bear, the (constellation), Othello, ii. 1. 



30 INDEX TO SHAKSPERE'S WORKS. 

Bear-baiting, allusion to, " fight the course," Macbeth, v. 5. 

Beard, a cain-coloured (red), Merry Wives of Windsor, i. 4. ; on 
a woman, Merry Wives of Windsor, iv. 2 ; for an actor, Midsummer- 
Night'' s Dream, i. 2 ; Jove send thee a, Twelfth Night, Hi. 1 ; great- 
er than Dobbin's tail, Merchant of Venice, ii. 2 ; turned white with 
the news, I. Henry IV, ii. 4; a youth's, Troilus and Cressida, i. 2 ; 
of witches, Macbeth, i. 3; the insult of plucking the, Hamlet, ii. 2 ; 
" many a wart," etc., King Lear, Hi. 7 ; shaving the, in respect, An- 
tony and Cleopatra, ii. 2. 

Bearing-cloth (christening-robe), A Winter's Tale, Hi. 3 ; I. 
Henry VI, i. 3. 

Bear in hand (keep along in expectation), Measure for Meas- 
ure, i. 5 ; II. Henry I V., i. 2 ; Macbeth, Hi. 1. 

Beast(s), a, of good conscience, Midsummer-NighCs Dream, v. 1 ; 
particular additions (attributes) of, Troilus and Cressid /, i.2 ; know 
their friends, Coriolanus, ii. 1 ; how betrayed, Julius Cazsar, ii. 1 ; 
strife among, Timon of Athens, iv. 3 ; would have mourned longer, 
Hamlet, i. 2; let a beast be lord of beasts, Hamlet, v. 2 ; since men 
prove, Lucrece, I. 1148. 

Beatrice, the principal female character in Much Ado about 
Nothing, introduced in the first scene. She is perhaps the wittiest 
of Shakspere's women. Her raillery is unsparing, especially toward 
Benedick, whom she singles out from the first for special attack. 
But she is at the same time warm-hearted and affectionate, as shown 
by her faithful and generous defence of Hero, when every one else, 
even Hero's father, believed in her guilt. 

" Her true love for Hero, her deep conviction of her innocence, 
her anger at the designed malice of her public dishonour, stir up her 
whole soul and convert it into a perfect contrast to that which we 
have seen in her hitherto. This scene {iv. 1) possesses infinite effect 
when performed without the least caricature, displaying those acutely 
sensitive natures in all their agitation of feeling, yet without falling 
into a sentimental tone, of which they are incapable. Sorrow for 
Hero and for the honour of her house makes Beatrice gentle, tender, 
and weakened into tears; this 'happy hour' facilitates to both their 
serious confession. But, at the same time, this hour of misfortune 
tests them [Benedick and Beatrice], accustomed as they are only to 
jest and raillery, by a heavy trial, in the sustaining of which we are 
convinced that these gifted natures are not devoid of that seriousness 
of life which regards no earnest situation with frivolity." — Gervinus. 

Beauchamp. See Warwick. 

Beaufort, Edmund and John. See Somerset. 

Beaufort, Henry, Cardinal. See Winchester. 



INDEX TO SHAKSPERE'S WORKS. 31 

Beaufort, Thomas. See Exeter. 

Beaumond, Lord Henry, mentioned in Richard 11., ii. 2, as one 
of Bolingbroke's adherents. 

Beaumont, a French noble, killed at Agincourt, mentioned, 
Henry V., Hi. 5 ; iv. 8. 

Beautified, a vile phrase, Hamlet, ii. 2. 

Beauty, that nothing ill can dwell in, The Tempest, i. 2 ; holi- 
day time of, Merry Wives of Windsor, ii. 1 ; is a witch, Much Ado 
about Nothing, ii. 1 ; bought by judgment of eyes, Love's Labour's 
Lost, ii. 1 ; makes young, Love's Labour's Lost, iv. 3 ; praise of, 
Love's Labour's Lost, iv. 3 ; Midsummer- Night 's Dream, Hi. 2; 
Cymbeline, v. 5 ; Merchant of Venice, i. 1 ; deceitf ulness of, Merchant 
of Venice, Hi. 2 ; Portia's, Merchant of Venice, Hi. 2 ; provoketh 
thieves, As You Like It, i. 3 ; with honesty, As You Like It, Hi. 3 ; 
no more than may go dark to bed, As You Like It, Hi. 5 ; of Helena, 
AIVs Well that Ends Well, v. 3; all by God, Twelfth Night, i. 5; 
scheduled, Twelfth Night, i 5; purged pestilence, Twelfth Night, i. 
1 ; virtue is, Twelfth Night, Hi. 4; of a low-born lass, A Winter's 
Tale, iv. 3 ; short-lived, Henry V., v. 2 ; to be wooed, 1. Henry VI., 
v. 3 ; if beauty have a soul, Troilus and Cressida, v. 2 ; without 
renown, Coriolanus, i. 3 ; unapproachable, Romeo and Juliet, i. 1 ; 
in comparison, Romeo and Juliet, i. 2, end; manly, Romeo and 
Juliet, i. 3; upon the cheek of night, Romeo and Juliet, i. 5 ; light 
of, Romeo and Juliet, ii. 2 ; with wickedness, Romeo and Juliet, Hi. 
2 ; and honesty, Hamlet, Hi. 1 ; sense of, in inanimate objects, Othello, 
ii. 1, speech of Cassio ; and ugliness, Cymbeline, i. 6 ; Imogen's, Cym- 
beline, ii. 2 ; Hi. 5, 6; of the daughter of Antiochus, Pericles, i. 1, 
2; child of, Pericles, ii. 2 ; Venus and Adonis, I. 7 ; dead, Venus 
and Adonis, I. 1076 ; effect of, on animals, I. 1093 ; needs no orator, 
Lucrece, I. 29; of Lucretia, Lucrece, I. 52; made more beauteous 
with truth, Sonnet liv. ; the mark of slander, Sonnet Ixx. ; and 
flowers, Sonnet xcix.; unchanged, Sonnet civ.; descriptions of, 
Sonnet cvi. ; traces of, Lover's Complaint, I. 10 ; manly, Lover's 
Complaint, I. 85 ; fleeting, The Passionate Pilgrim, xiii.; should be 
perpetuated in children, Twelfth Night, i. 5 ; Sonnets i. to xvii.; 
inspiration of poetry, Sonnets Ixxviii. to Ixxx., Ixxxiv. ; made richer 
by truth. Sonnet liv. ; decay of, Sonnets lx., Ixv., Ixvii. ; living in 
poetry, Sonnets xv. to xix., Ixiii., Ixv., ci., cvii. ; change in, Sonnets 
Ixvii., Ixviii. ; of the mind, Sonnet Ixix. 

Bedlam, the (lunatic), II. Henry VI., Hi. 1; King Lear, Hi. 7, end. 

Bedlam beggar, tricks of a, King Lear, ii. 3. 
4 



32 INDEX TO SHAKSPERE'S WORKS. 

Bedford, John, Duke of, third son of Henry IV., known as 
Prince John of Lancaster in II. Henry IV., and as Duke of Bedford 
in Henry V. and /. Henry VI., introduced in the second scene of 
the former, and first of the latter. He is represented in the play as 
having been at Harfleur and Agincourt, though he really stayed at 
home as lieutenant of the whole realm of England. Henry V., on 
his death-bed, made him Regent of France. He was prudent, patri- 
otic, and skilful ; the greatest blot on his record is his treatment of 
Joan of Arc, whom he caused to be burned as a witch. He is said 
to have died of grief for the Treaty of Arras, which united the Duke 
of Burgundy and Charles VII. His death (I. Henry VI, Hi. 2) oc- 
curred in 1435. 

Beef, not good for the wit, Twelfth Night, i. 3 ; beef-witted, 
Troilus and Cressida, ii. 1. See Meats. 

Beelzebub, Twelfth Night, v. 1. 

Beer, small, II. Henry IV., ii. 2 ; Othello ii. 1. 

Bees, the, The Tempest, v. 1, song ; murdered for their pains, II. 
Henry IV., iv. 4 ; commonwealth of, Henry V., i. 2. 

Beetle, the, sufferings of, in death, Measure for Measure, Hi. 1 ; 
shard-borne, Macbeth, Hi. 2 ; Antony and Cleopatra, Hi. 2 ; Cymbe- 
line, Hi. 3. 

Beetle, a three-man (a pile-driver with three handles), 11. Henry 
IV., i. 2. 

Beggar(s), how a, should be answered, Merchant of Venice, iv. 
1 ; a, made to think himself a king, Taming of the Shrew, induc- 
tion, i. ; railing on the rich, King John, ii. 2 ; mounted, III. Henry 
VI, i. 4 ; book (learning) of, Henry VIII., i. 1 ; no comets seen at 
death of, Julius Cazsar, ii. 1. 

Beggary, Falstaff on, II. Henry IV, i. 2 ; led by delay, Rich- 
ard III, iv. 3. 

Behaviour, what wert thou till this man showed thee I Love's 
Labour's Lost, v. 2 ; advice on, Merchant of Venice, ii. 2 ; King Lear, 
i. 4, " Have more than thou showest," etc. ; an index of character, 
Twelfth Night, i. 2 ; advice to a young man on, Hamlet, i. 3. 

Belarius, a banished lord in Cymbeline, introduced in Hi. 3. 
He goes by the name of Morgan ; tells his own story, Hi. 3 ; his 
bravery, v. 3; avows his identity, v. 5. 

Belch, Sir Toby, uncle of Olivia in Twelfth Night, introduced 
in i. 3. 

" A drunkard, a coarse realist of the lowest sort, he yet possesses 
a slyness in seeing through the weaknesses of men who do not lie 



INDEX TO SHAKSPERE'S WORKS. 33 

beyond his range of vision ; rough and awkward in his manners, he 
yet so far knows how to assume the fashions of the town as to impose 
upon Sir Andrew ; impudent enough to make an alehouse of Olivia's 
palace, and to take no heed when she orders him to leave, he yet 
knows how to keep on good footing with the servants of the house." 

Belgia, Comedy of Errors, iii. 2. 

Bellario, Doctor, Portia's cousin in Padua, Merchant of Venice, 
iii. 4, iv. 1. 

Bellona's bridegroom (Macbeth), Macbeth, i. 2. Bellona was 
a Roman war goddess. 

Bell(s), curfew, The Tempest, v. 1 ; Measure for Measure, iv. 2 ; 
Romeo and Juliet, iv. 4,' King Lear, iii. 4; church, As You Like It, 
ii. 7 ; Twelfth Night, v. 1 ; book and candle, King John, iii. 3 ; pass- 
ing, II. Henry IV., i. 1 ; Romeo and Juliet, v. 3 ; sweet, jangled, 
Hamlet, iii. 1 ; the funeral, Hamlet, v. 1. 

Belly, the, and the members, fable of, Coriolanus, i. 1. A very 
old fable, perhaps by JEsop. 

Belman, a dog, Taming of the Shrew, induction, i. 

Belmont, scene of a part of the Merchant of Venice. It was 
the name of the residence of the heroine in the original tale, where 
it is only described as being on a gulf. 

Benedick, an important character in Much Ado about Nothing, 
introduced in the first scene. The war of wit between him and Bea- 
trice constitutes the great attractiveness of the play, and the plot by 
which each is made to believe in the infatuation of the other, and by 
which they are brought together, relieves the more serious plot against 
the honour of Hero. See Beatrice. 

Benedictions. See Blessings. 

Benefits, forgot, As You Like It, ii. 7, song. 

Bennet, St., Church of, in Upper Thames Street, London, Twelfth 
Night, v. 1. 

Bentivolii, family of Lucentio in Taming of the Shrew, i. 1. 

Benvenuto (welcome), Love's Labour's Lost, iv. 2 ; Taming of 
the Shrew, i. 2. 

Benvolio, character in Romeo and Juliet, first appearing in i. 1, 
Romeo's cousin and friend. 

Berkeley, Thomes, fifth baron, character in Richard II, intro- 
duced in ii. 3. He was one of the commission sent to notify Richard 
of his deposition. 

Berkeley, a gentleman attending on Lady Anne in Richard 
III., introduced in i. 2. 



34: INDEX TO SHAKSPERE'S WORKS. 

Berkeley Castle, in Gloucestershire, Richard II., ii. 2, 3 ; I. 
Henry IV., i. 3. 

Bermoothes. See Bermudas. 

Bermudas, the, The Tempest, i. 2. Spelled Bermoothes accord- 
ing to the Spanish pronunciation. One Silvester Jourdan had pub- 
lished, not long before this play was written, " A Discovery of the 
Bermudas, otherwise called the Isle of Divels," giving an account 
of the wreck of a ship of Sir George Somers. Purchas, too, in his 
" Pilgrimage," spoke of the Bermudas as " rent with tempests." 

Bernardo, an officer in Hamlet, introduced in *. 1. 

Berowne, or Biron(e), one of the lords attending on the king in 
Love's Labour's Lost, the most sharply characterized among them, a 
wit who, as Coleridge says, is " evidently the pre-existent state of 
Benedick " in Much Ado about Nothing. He is introduced in the 
first scene. 

Berri, Duke of, Henry V., Hi. 5. 

Bertram, Count of Rousillon, character in All's Well that Ends 
Well, introduced in i. 1, a character very differently estimated by 
critics. Dr. Johnson says of it: "I cannot reconcile my heart to 
Bertram, a man noble without generosity, and young without truth ; 
who marries Helena as a coward, and leaves her as a profligate." 
Gervinus says : " The nobility of a fine nature is innate in Bertram ; 
his degeneracy into pride is only youthful error. ... No inner men- 
tal life has yet penetrated his years of churlishness." While it is 
difficult to avoid regarding Bertram as something of a sneak, yet it 
seems evident that Shakspere meant to portray him as one whose 
errors spring from an overweening pride of birth excusable to the 
heir of a name and fortune like his, from the natural thought- 
lessness of youth, and from the influence of the vile Parolles, and 
by no means unredeemable by the influence of a woman like Helena, 
when once he is brought to appreciate her worth. 

Besort (attendance), Othello, i. 3. 

Bestraught (distraught), Taming of the Shrew, induction, 2. 

Beteem, to pour out, or to afford, Midsummer-Night's Dream, 
i. 1 ; to permit, Hamlet, i. 2. 

Betrayal, of Antony, iv. 10 or 12. 

Betrothals, The Tempest, Hi. 1 ; iv. 1; A Winter's Tale, iv.8; 
Merchant of Venice, Hi. 2 ; violation of, Measure for Measure, Hi. 
1; secret, Twelfth Night, iv. 3; v. 1; proposed, King John, ii. 
lor 2. 

Bevel (not morally upright), Sonnet cxxi. 



INDEX TO SHAKSPERE'S WORKS. 35 

Be vis, George, a follower of Jack Cade, II. Henry VI, iv. 2. 

Bevis (of Hampton), Henry VIII, i. 1. Made Earl of South- 
ampton by the Conqueror. There were wonderful stories of his 
bravery. 

Bewilderment, like madness, Twelfth Night, iv. 3 ; Venus and 
Adonis, I. 894. 

Bezonian (Italian bisogno, a beggar, or a raw recruit), II. Henry 
IV, v. 3; II. Henry VI, iv. 1. 

Bianca, sister of the Shrew in the Taming of the Shrew, intro- 
duced in the first scene — a contrast to her sister. 

Bianca, Cassio's mistress in Othello, introduced in in. 4. 

Bias, Taming of the Shrew, iv. 5 ; Richard II, Hi. 4,. A weight 
on one side of a bowl to incline it in running. Anything that ran 
against it was a rub. 

Bible, the, allusions to : Adam, Comedy of Errors, iv. 3 ; Love's 
Labour's Lost, iv. 2 ; Much Ado about Nothing, ii. 1 ; As You Like 
It, ii. 1; I. Henry IV, Hi. 3 ; Henry V, i. 1; II Henry VI, iv. 2 ; 
Hamlet, v. 1 ; and Eve, Love's Labour's Lost, v. 2 ; Richard II, Hi. 
4. Eve, Two Gentlemen of Verona, Hi. 1 ; Merry Wives of Wind- 
sor, iv. 2; Love's Labour's Lost, i. 1; Twelfth Night, i. 5. Cain, 
Love's Labour's Lost, iv. 2 ; King John, Hi. 4,' Richard II, v. 6 ; 
II Henry IV, i. 1; I. Henry VI., i. 3 ; Hamlet, v. 1. Abel, Rich- 
ard II, i. 1 ; I. Henry VI, i. 3. Abraham, Merchant of Venice, i. 
3; Richard II, iv. 1 ; Richard III, iv. 3. Jacob, Merchant of 
Venice, i. 3 ; ii. 5. Laban, Merchant of Venice, i. 3. Hagar, Mer- 
chant of Venice, ii. 5. Noah, Twelfth Night, Hi. 2. Japheth, II. 
Henry IV., ii. 2. The deluge, Comedy of Errors, Hi. 2. The ark, 
As You Like It, v. 4. Pharaoh, Much Ado about Nothing, Hi. 3 ; 

I. Henry IV., ii. 4. Jael, The Tempest, Hi. 2, " Where thou mayst 
knock a nail into his head." Job, Merry Wives of Windsor, v. 5 ; 

II. Henry I V, i. 2. Deborah, I. Henry VI, i. 2. Daniel, Merchant 
of Venice, iv. 1. Nebuchadnezzar, All's Well that Ends Well, iv. 5. 
Samson, Love's Labour's Lost, i. 2; I. Henry VI, i. 2; Henry 
VIII, v. 4. Goliath, Merry Wives of Windsor, v. 1 ; I. Henry VI, 
i. 2. David, II Henry IV., Hi. 2. Achitophel, //. Henry IV., i. 2. 
Solomon, Love's Labour's Lost, i. 2; iv. 3. The Queen of Sheba, 
Henry VIII, v. 5. Jezebel, Twelfth Night, ii. 5. Jephthah, II. 
Henry VI, Hi. 2 ; III. Henry VI, v. 1 ; Hamlet, ii. 2. Herod, 
Henry V., Hi. 3 ; Hamlet, Hi. 2 ; Antony and Cleopatra, i. 2 ; Hi. 
3, 6 ; iv. 6. Dives and Lazarus, Richard II, iv. 1 ; I Henry IV., 
Hi. 3 ; iv. 2 ; Richard III, iv. 3. The prodigal son, Two Gentlemen 



36 INDEX TO SHAKSPERE'S WORKS. 

of Verona, ii. 3 ; Merry Wives of Windsor, iv. 5 ; Comedy of Errors, 
iv, 3; As You Like It, i. 1; I. Henry IV., iv. 2 ; II. Henry IV., i. 
2. The legion of devils, Merchant of Venice, i. 3 ; Twelfth Night, 
Hi. 4* The house divided against itself, Richard 1L, v. 5 ; a camel 
through a needle's eye, Richard II., v. 5. Judas. Love's Labour's 
Lost, v. 2 ; As You Like It, Hi. 4; Richard II, Hi. 2 ; iv. 1 ; III. 
Henry VI, v. 7. Pilate, Richard II, iv. 1; Richard III, i. 4. 
Barabbas, Merchant of Venice, iv. 1. Golgotha, Richard II, iv. 1 ; 
Macbeth, i. 2. The keys of Saint Peter, Othello, iv. 2. Saint Philip s 
daughters, I Henry VI, i. 2. Will have mercy on whom he will 
have mercy, Measure for Measure, i. 3. Lead into temptation, 
Measure for Measure, ii. 2. Spirits in prison, Measure for Measure, 
ii. 3. Call brothers fools, Merchant of Venice, i. 1. The Nazarite, 
Merchant of Venice, i. 3. The prayer for mercy, Merchant of Venice, 
iv. 1. He that feeds the ravens, As You Like It, ii. 3. So holy writ 
in babes hath judgment shown, etc., AIVs Well that Ends Well, ii. 1. 
The canon of the law, etc., King John, ii. 1, an allusion to the second 
commandment. The leopard change his spots, Richard II, i. 1. 
Wisdom cries, I. Henry IV, i. 2: Return to vomit, II. Henry IV., 
i. 3 ; Henry V., Hi. 7. Book of Numbers quoted, Henry V., i. 2. 
Demon with lion gait, Henry V., ii. 2. Another fall of man, Henry 
V., ii. 2. Wolf in sheep's clothing, I Henry VI, i. 3. " Medice ie," 
etc., II. Henry VI, ii. 1. Prayer for enemies, Richard III, i. 3. 
As snow in harvest, Richard HI, i. 4* Woe to that land, etc., 
Richard III, ii. 3. Of better luck than your master, Henry VIII.,, 
v. 1. The hill of Basan, Antony and Cleopatra, Hi. 11 or 13. 

Biggin, 77. Henry IV., iv. 4. A head-band or cap of coarse linen. 

Bigot, Robert (correctly Roger), second Earl of Norfolk, a char- 
acter in King John, introduced in iv. 3. He was one of the twenty- 
five barons opposed to the king. See Norfolk. 

Bilbo (sword), Merry Wives of Windsor, i. 1; Hi. 5. Fine 
swords were made at Bilboa in Spain. 

Billiards, Antony and Cleopatra, ii. 5. An anachronism, as it 
is a modern game. 

Bills, on their necks, As You Like It, ii. 1. Alluding to the 
weapon called a bill. 

Biondello, one of the servants of Lucentio in Taming of the 
Shrew, introduced in i. 1. 

Birds, singing of, dependent on the listener, Merchant of Venice^ 
v. i. The ousel, throstle, wren, etc.. A Midsummer- Night's Dream, 
Hi. 1, soTig. For other references, see under names of species. 



INDEX TO SHAKSPERE'S WORKS. 37 

Birnaxn "Wood, prophecy concerning, Macbeth, iv. 1; its fulfil- 
ment, v. 4, 5. 

Biron or Birone. See Berowne. 

Birth, crying at, King Lear, iv. 6. 

Birth. See Blood and Rank. 

Bis coctus (twice cooked), Love's Labours Lost, iv. 2. 

Bisson (blinding), Hamlet, ii. 2 ; Coriolanus, ii. 1 ; Hi. 1. 

Blackbird, the. See Ousel. 

Black-Friars, London, scene of Henry VIII., ii. 4> 

Blackheath, in Kent, six miles southeast of London, scene of 
II. Henry VI., iv, 2 and 3. 

Black Monday, Merchant of Venice, ii. 5. Easter Monday, so 
called from the violent storm of wind, hail, and lightning, April 14, 
1360, to which King Edward III., with his army, was exposed on 
that day, near Chartres in France. 

Blanch of Spain, daughter of Alphonso, King of Castile, and 
niece of King John, appears in King John, ii. 1. 

Blasphemy, in the lowly and in the great, Measure for Measure, 
ii. 2 ; Sebastian called, The Tempest, v. 1. 

Blench (move), Measure for Measure, iv. 5. 

Blessedness, single, A Midsummer-Night's Dream, i. 1. 

Blessings, invoked, The Tempest, v. 1 ; Two Gentlemen of Ve- 
rona, i. 1 ; Twelfth Night, Hi. 1 ; Richard III., ii. 2 ; Coriolanus, 
i. 5 ; Othello, ii. 1. 

Blind man, a pretended, II. Henry VI, ii. 1. 

Blindness, the best use of one's eyes, to see the way of, Cymbe- 
line, v. 4* 

Blindworm, A Midsummer-Nighfs Dream, ii. 2; Macbeth, 
iv. 1. A little snake with very small eyes, supposed to be very 
venomous. 

Blood, swooning at sight of, As You Like It, iv. 3 ; drunk by the 
earth, I. Henry IV., i. 1 ; stains of, Macbeth, ii. 2 ; v. 1 ; will have 
blood — " I am stept in so far," Macbeth, Hi. 4 ; circulation of the, 
Measure for Measure, ii. 4; King John, Hi. 3 ; II. Henry IV, v. 
2 ; II. Henry VI, Hi. 2 ; Coriolanus, i. 1 ; Romeo and Juliet, iv. 1 ; 
Julius Cmsar, ii. 1; Macbeth, ii. 2; Hamlet, i. 5; Othello, iv.2; 
Lucrece, I. 1747. 

Blood (in the sense of ancestry), claims of. As You Like It, i. 1 ; 
distinctions of, All's Well that Ends Well, ii. 3 ; no sure foundation 
of, King John, iv. 2 ; sacredness of royal, Richard II, i. 2 ; conduct 
unworthy royal, I. Henry IV., Hi. 2; weighed against learning (a 



38 INDEX TO SHAKSPERE'S WORKS. 

beggar's book), Henry VIII., i. 1 ; a boil, etc., in my, King Lear, ii, 
4 ; ties of, and evidence of good, Cymbeline, iv. 2, 4. 

Blood-boltered (clotted), Macbeth, iv. 1. 

Blow, blow, thou winter wind — song, As You Like If, ii. 7. 

Blue-caps (Scotchmen, so called from their blue bonnets), .7. 
Henry IV., ii. ^. 

Blunt, Sir James, character in Richard III., first appears in v. 
2, a partisan of Richmond. He was a great-grandson of the Sir Wal- 
ter Blunt in /. Henry IV. 

Blunt, Sir Thomas, mentioned in Richard II., v. 6, as having 
been executed. 

Blunt, Sir Walter, character in I. Henry IV, introduced in i. 1, 
where the king calls him " a dear, a true industrious friend." In the 
battle of Shrewsbury, act v., scene 3, he is dressed in one of the king's 
coats, and Douglas, mistaking him for the king, kills him. His son, 
Sir John Blunt, is mentioned in the next play, iv. 3. 

Bluntness, Julius Caisar, Hi. 2, " I have neither wit," etc. ; King 
Lear, ii. 2. 

Blushes, Much Ado about Nothing, iv. 1 ; AIVs Well that Ends 
Well, ii. 3 ; Lucrece, I. 59. 

Boar, the (Richard HI., whose device was a boar), Richard ZZX, 
Hi. 2 ; of Thessaly, Antony and Cleopatra, v. 2 ; iv. 13 ; hunting the 
wild, Venus and Adonis, lines 614, 1105. 

Boar's Head Tavern. See Eastcheap. 

Boasters. See Braggarts. 

Boasting, Merry Wives of Windsor, ii. 3 ; As You Like It, i. 2 ; 
King John, ii. 1; ii. 2 ; Henry V., Hi. 7 ; iv. 3,4,' foolish, Lucrece, 
1.33. 

Boatswain, a, character in The Tempest, i. 1. 

Bobbed (got by cheating), Othello, v. 1. 

Bocchus, King of Lydia, Antony and Cleopatra, Hi. 6. 

Bodies, our, our gardens, Othello, i. 3, Iago ; over-care of, Son- 
net cxlvi. 

Bohemia, scene of part of A Winter's Tale. 

Bohun, Edward, Henry VIII., ii. 1: See Buckingham, Edward 
Stafford, Duke of. 

Boldness, in a subject, I. Henry IV., i. 3. 

Boleyn (or Bullen), Anne, maid of honour to Queen Katherine 
and afterward queen, a character in Henry VIII, introduced in i. 
4, where she dances with the king, an incident that took place at a 
banquet given by the king in 1527 to ambassadors from Francis I. 



INDEX TO SHAKSPERE'S WORKS. 39 

She would not be a queen, ii. 3 ; made a marchioness, ii. 3 ; mar- 
ried, Hi. 2. This was January 25, 1533, or, according to some writ- 
ers, November 14, 1532. In Hi. 2, Suffolk says, " I persuade me, 
from her will fall some blessing to this land, which shall in it be 
memorized," a reference to her daughter Elizabeth. In the same 
scene, Wolsey speaks of her as the weight that pulled him down, he 
having planned that the king should marry the sister of the King of 
France after being divorced from Katherine. Anne's coronation and 
beauty, iv. 1 ; the birth of Elizabeth, v. 1. Anne was beheaded in 
1536. 

" With what a delicate and yet luxuriant grace is she sketched 
off, with her gaiety and her beauty, her levity, her extreme mobility, 
her sweetness of disposition, her tenderness of heart, and, in short, 
all her femalities ! How characteristic that she should first express 
unbounded pity for her mistress, insisting chiefly on her fall from 
her regal state and worldly pomp, thus betraying her own disposi- 
tion ! " — Mrs. Jameson. 

Bolingbroke, Henry of, Duke of Hereford, and afterward Henry 
IV. See Henry IV. 

Bolingbroke, Roger, a conjuror in II. Henry VI. ; first appears 
in i. 4. 

Bolt, the fool's. See Proverbs. 

Bolting-hutch, I. Henri/ IV., ii. 4. A bin where meal is bolted. 

Bombast (cotton used for wadding garments), Love's Labour's 
Lost, v. 2 ; I. Henry IV., ii. 4. 

Bombard (a leather drinking- vessel), 1. Henry IV., ii. 4 / Henry 
VIII., v. 4. 

Bona, Lady, the Princess Bonne of Savoy, a sister of the French 
queen, character in III. Henry VI., introduced in Hi. 3. In ii. 6, 
Warwick proposes to ask her in marriage for Edward, which he does 
in Hi. 3, just before the news of Edward's marriage with the Lady 
Grey is announced by post. Edward's treatment of her is used 
against his heir by Richard in Richard III, Hi. 7. The story of 
Edward's suit to her is not well authenticated. 

Bona-robas (courtesans), II. Henry J V., Hi. 2. 

Bona terra, etc., II. Henry VI, iv. 7. Good land, bad people. 

Bond(s), his words are, Two Gentlemen of Verona, ii. 7 ; for a 
pound of flesh, a, Merchant of Venice, Hi. 2, 3, 5 ; iv. 1 ; of heaven, 
Troilus and Cressida, v. 2 ; of life, the, Macbeth, Hi. 2. 

Bondage, is hoarse, Romeo and Juliet, ii. 2 ; deliverance from, 
Julius Cmsar, i. 3 ; a way to liberty, Cymbeline, v. 4. 

Bonfire, the everlasting, Macbeth, ii. 3. 



40 INDEX TO SHAKSPERE'S WORKS, 

Book, of songs and sonnets, Merry Wives of Windsor, i. 1 ; quar- 
relling by, As You Like It, v. 4 ; advice for a, Sonnet Ixvii. 

Book (magic), The Tempest, v. 1. 

Book (learning), II. Henry VI, iv. 7 ; Henry VIII, i. 1. 

Book (writing on a tablet), Cymbeline, v. 4. 

Book-knowledge, ridiculed in Armado, in Love's Labour's 
Lost. 

Book of Life, the, Richard II, i. 3. 

Books, women are the, Love's Labour's Lost, iv. 3, near the end ; 
in brooks, As You Like It, ii. 1 ; of our forefathers, II. Henry VI, 
iv. 7 ; binding of, Romeo and Juliet, i. 3 ; Hi. 2 ; love in, Sonnet 
xxiii. 

Books (favour), in one's, Much Ado about Nothing, i. 1. 

Boot (advantage), I. Henry VI, iv. 6. 

Borachio, the villainous follower of Don John in Much Ado 
about Nothing, who invents the plot against Hero and acts the part 
of her pretended lover ; first appears in i. 3. 

Bore, a, I. Henry IV., Hi. 1, "0 he's as tedious," etc. ; Venus 
and Adonis, I. 845. 

Boreas (the north wind), Troilus and Cressida, i. 3. 

Bores (stabs), Henry VIII, i. 1. 

Borough., the head (in some modern editions the third). Verges 
in Much Ado about Nothing. The former was an officer of the bor- 
ough ; the third borough was a constable. 

Borrowing, dulls husbandry, Hamlet, i. 3. 

Bosworth Field, battle of, August 22, 1485. This battle, where 
Richmond, afterward Henry VII., defeated Richard III., was the 
last of the Wars of the Roses. The field, or moor, is in Leicester- 
shire. It is the scene of Richard III, v. 3, 4. 

Botcher (cobbler), AWs Well that Ends Well, iv. 3. 

Bottle (bundle), of hay, Midsummer-Night's Dream, iv. 1. 

Bottom (spool, shuttle), of thread, Two Gentlemen of Verona, Hi. 
2 ; Taming of the Shrew, iv. 3. 

Bottom, Nick, a weaver, character in A Midsummer-Night's 
Dream, introduced in i. 2. In the play before the duke he takes the 
part of Pyramus. 

"Bottom, in his broad-blown self-importance, his all but impene- 
trable self-satisfaction, stands a head and shoulders higher in ab- 
surdity than any other comic personage in Shakspere's early plays. 
He is the admitted king of his company, the cock of his walk, and 
he has a consciousness that his gifts are* more than equal to his op- 
portunities." — Dowden. 



INDEX TO SHAKSPERE'S WORKS. 41 

Bouciqualt, mentioned, Henry V, Hi. 5 ; iv. 8. 

Boult, a servant, in Pericles ; first appears in iv. 3. 

Bounds. See Limits. 

Bounty, should have eyes behind, Timon of Athens, i. 2 ; mars 
men, Timon of Athens, iv. 2 ; that begs to be asked, Antony and 
Cleopatra, Hi. 11 ; no winter in, Antony and Cleopatra, v. 2. 

Bourbon, John, Duke of, character in Henry V. ; first appears in 
Hi. 5, where he talks vaingloriously of the easy conquest that Will 
be made of the English. 

Bourbon, Lord High Admiral, addressed in III. Henry VI., Hi. 
3. He was a grandson of the preceding. 

Bourehier, Thomas, Archbishop of Canterbury and Cardinal, 
character in Richard III., first appears in Hi. 1. His mother was a 
daughter of the Duchess of Gloucester in Richard II. He had taken 
sides with the Yorkists, and crowned Edward IV., Richard III., and 
Henry VII. (Richmond). 

Bourdeaux, scene of I. Henry VI., iv. 2, 5. 

Bourn (burn, rivulet, or boundary), Troilus and Cressida, ii. 3 ; 
this chalky, King Lear, iv. 6 ; of the undiscovered country, Hamlet, 
Hi. 1. 

Bowling, allusions to, Taming of the Shrew, iv. 5 ; Richard II., 
Hi. 4 ,' Coriolanus, v. ii ; rub on, etc., Troilus and Cressida, in. 2 ; 
kissed the jack, Cymbeline, ii. 1. 

Bow, the, is bent and drawn, King Lear, i. 1. 

Boyet, a lord attending on the Princess of France in Love's La- 
bour's Lost, an accomplished courtier wittily described by Berowne 
(Biron) in act v., scene 2. He first appears in ii. 1. 

Boy(s), the whining schoolboy, As You Like It, ii. 7 ; life and 
ideas of, A Winter's Tale, i. 2 ; demureness in, II. Henry VI., ii.3; 
a bright, Richard III., Hi. 1; unrespective, Richard III., iv. 2 ; 
sacrifice to present pleasure, Antony and Cleopatra, i. 4. 

Brabant, Duke of, mentioned, Henry V., Hi. 5 ; iv. 8. 

Brabantio, a Venetian senator, character in Othello, introduced 
in i. 1, the father of Desdemona. His death, v. 2. 

Brach (a hound), Taming of the Shrew, Induction i. 

Bracy, Sir John, mentioned in I. Henry IV., ii. 4. 

Braggarts, Much Ado about Nothing, v. 1 ; Two Gentlemen of 
Verona, H. 4 ; All's Well that Ends Well, Parolles in, iv. 3, etc. ; 
tediousness of, i". Henry IV., Hi. 1; I cannot choose, etc., Romeo 
and Juliet, ii. 6 ; They are but beggars, etc. ; wear their daggers 
in their mouth, Cymbeline, iv. 2. 



42 INDEX TO SHAKSPERE'S WORKS. 

Braid (deceitful), AlVs Well that Ends Well, iv. 2. 

Brains, boiled, The Tempest, v. 1 ; dry, As You Like It, ii. 7 ; 
idle comments of — dwelling of the soul, King John, v. 7 ; when 
the brains were out, the man would die, Macbeth, Hi. 4 ; diminution 
of, restores heart, or courage, Antony and Cleopatra, Hi. 11 or 13, 
end; forgeries of the, Lucrece, I. 46O. See Ventricle of Memory. 

Brakenbury, Sir Robert, Lieutenant of the Tower, character in 
Richard III. ; first appears in i. 1 ; his death, v. 5. 

Brakes (thickets), of vice, Measure for Measure, ii. 1. 

Brandon, Sir William, character m Richard III., first appears 
in v. 3, in Richmond's army. He fell at Bosworth, v. 5. 

Brandon, character in Henry VIII, introduced in i. 1. The 
Duke of Buckingham was arrested by one Sir Henry Marney. 

Brave, address to the, Coriolanus, i. 6, " Those are they," etc. 

Bravery, of the princes, I. Henry I V., v. 4 ; of Talbot and his 
son, I. Henry VI, iv. 5 ; in war, Coriolanus, i. 4, 5 ; ii. 2 ; Cymbe- 
line, v. 3 ; of Posthumus, Cymbeline, v. 5. 

Bravery (fine apparel), Taming of the Shrew, iv. 3. 

Brawl (a dance), Love's Labour's Lost, Hi. 1. 

Brawl, a, Othello, ii. 3. 

Brazier, a, Henry VIII, v. 4. 

Breach, once more unto the, Henry V., in. 1. 

Breast (voice), Twelfth Night, ii. 3. 

Brecknock, Richard III, iv. 2. Buckingham's castle in South 
Wales, built in the time of the Conqueror, destroyed during the 
Civil War. The keep is still standing. 

Breeches, Two Gentlemen of Verona, ii. 7. 

Breeching scholar, Taming of the Shrew, Hi. 1. To breech 
was an old term meaning to whip, used in Merry Wives of Windsor, 
iv. 1, " You must be breeched." A breeching scholar was a boy sub- 
ject to whipping. 

Breeding, of Orlando, As You Like It, i. 1. 

Breese, or brize, Antony and Cleopatra, Hi. 8-10. The gad- 
fly. 

Brentford, fat woman, or witch of, Merry Wives of Windsor, iv. 
2, 5. Supposed to be a well-known personage of Shakspere's day, 
named Gillian. 

Bretagne, John de Montfort, Duke of, mentioned in Richard 
II, ii. 1, as furnishing Bolingbroke with ships. Henry IV. after- 
ward married his widow, Joan of Navarre. 

Bretagnes, Richard III, v. 3. 



INDEX TO SHAKSPERE'S WORKS. 43 

Brevity, of fair things, Midsummer-Night 's Dream, i. 1 ; the 
soul of wit, Hamlet, ii. 2. 

Brewer's Horse, a, I. Henry IV., Hi. 3. He carried the liquor 
on his back. 

Bribery, attempt at, Merry Wives of Windsor, iv. 6 ; openness 
to, All's Well that Ends Well, iv. 3; used, II. Henry IV., Hi. 2 ; 
contempt for, Julius Cwsar, iv. 3 ; defeats justice, Hamlet, Hi. 3, 
speech of the king; Cymbeline, ii. 3; Hi. 3. 

Bribe-Buck (a stolen one), Metry Wives of Windsor, v. 5. 

Bridegroom, dress of a, Taming of the Shrew, Hi. 2. 

Bridewell, palace at, scene of Henry VIII., Hi. 1, 2. 

Bridge, what need the, much broader than the flood, Much Ado 
about Nothing, i. 1. 

Bridge, defence of the, Henry V., Hi. 6. Over the Ternois, at 
Blangi. The French tried to break it down, but the English seized 
and held it till the army passed over on the way to Calais. 

Bridget, Mistress, alluded to, Merry Wives of Windsor, ii. 2. 

Bridgnorth, in Salopshire, twenty miles from Shrewsbury, forces 
to meet at, I. Henry IV., Hi. 2, end. 

Brief (betrothal), All's Well that Ends Well, ii. 3. 

Brief (inventory), Antony and Cleopatra, v. 2. 

Briers, world full of, As You Like It, i. 3. 

Bring in (call to the tapster), I. Henry IV., i. 2. 

Britain, scene of part of Cymbeline ; its natural strength, Cym- 
beline, Hi. 1 ; a swan's nest, Cymbeline, Hi. 4. See England. 

British, bravery of the, Cymbeline, ii. 4. 

Brocas, Sir Bernard, mentioned in Richard II, v. 6, as having 
been beheaded for adherence to Richard. 

Broker, a crafty knave, II. Henry VI, i. 2. 

Brooding, on what's done, Macbeth, Hi. 2. 

Brook, or Broom, name by which Ford gets himself introduced 
to Falstaff, Merry Wives of Windsor, ii. 2. 

Brooks, books in the running, As You Like It, ii. 1. 

Broom. See Brook. 

Brothers, fight between, As You Like It, i. 1 ; duty to avenge 
the death of, Richard II, i. 2. 

Brownist, a (one of a sect of Puritans), Twelfth Night, Hi. 2. 

Bruit (report), III. Henry VI, iv. 7. 

Brunette, a, Sonnets cxxvii., cxxx., cxxxi., cxxxii., cxlviii. 

Brutus, Junius, a tribune of the people, character in Coriolanus, 
introduced in i. 1 ; Menenius on, ii. 1. See Sicinius. 
5 



44 INDEX TO SHAKSPERE'S WORKS. 

Brutus, there was a, once, Julius Ccesar, i. 2. Lucius Junius 
Brutus, prominent in the expulsion of the Tarquins and in turning 
the kingdom into a republic. When consul afterward, he con- 
demned his sons to death for an attempt to restore the kingdom. 
He is again alluded to in ii. 1, " My ancestors did from the streets 
of Rome," in the argument to Lucrece, and at lines 1734, 1807. 

Brutus, Marcus Junius, the most important character in the 
play Julius Ccesar; first appears in i. 2, talking with Cassius of the 
danger to the republic from Caesar ; his struggles, ii. 1 ; regretful 
thoughts of, ii. 2, end ; the assassination, Hi. 1 ; justifies it, Hi. 1 ; 
his speech, Hi. 2 ; his love of books and music, iv. 3 ; sees Caesar's 
ghost, iv. 3 ; on self-murder, v. 1 ; farewell to Cassius, v. 1 ; his 
death, v. 5. 

u I do not at present see into Shakspere's motive, his rationale, or 
in what point of view he meant Brutus's character to appear. . . . 
Surely, nothing can seem more discordant with our historical precon- 
ceptions of Brutus, or more lowering to the intellect of the Stoico- 
Platonic tyrannicide, than the tenets here attributed to him — to him, 
the stern Roman republican — namely, that he would have no objection 
to a king, or to Caesar, monarch in Rome, would Caesar but be as good 
a monarch as he now seems disposed to be ! How, too, could Brutus 
say that he found no personal cause — none in Caesar's past conduct 
as a man? Had he not passed the Rubicon ? Had he not entered 
Rome as a conqueror f Had he not placed his Gauls in the Senate ? 
. . . What character did Shakspere mean his Brutus to be?" — 
Coleridge. 

Brutus " acts as an idealist and theorizer might, with no eye for 
the actual bearing of facts, and no sense of the true importance of 

Sersons. Intellectual doctrines and moral ideas rule the life of 
Irutus ; and his life is most noble, high, and stainless, but his pub- 
lic action is a series of practical mistakes. Yet, even while he errs, 
we admire him, for all his errors are those of a pure and lofty spirit. 
He fails to see how full of power Antony is, because Antony loves 
pleasure, and is not a Stoic like himself ; he addresses calm argu- 
ments to the excited Roman mob ; he spares the life of Antony, and 
allows him to address the people ; he advises ill in military matters. 
All the practical gifts, insight, and tact which Brutus lacks are pos- 
sessed by Cassius ; but of Brutus's moral purity, veneration of ideals, 
disinterestedness, and freedom from unworthy personal motive, Cas- 
sius possesses little. And the moral power of Brutus has in it 
something magisterial, which enables it to oversway the practical 
judgment of Cassius." — Dowden. 

He is spoken of in II. Henry VI, iv. 1 ; in Antony and Cleopatra, 
ii. 6, Pompey speaks of his motive ; and in Hi. 9 or 11, Antony calls 
him the mad Brutus. 

Bubbles, the earth hath, Macbeth, i. 3. 



INDEX TO SHAKSPERE'S WORKS. 45 

Bubukles (pimples), Henry V, Hi. 6. 

Buckingham, Edward Stafford, Duke of. He calls himself 
Edward Bohun (ii. 1), as he was descended from the Bohuns, and 
from them inherited his office of constable, an office forfeited at his 
death, and never again revived in England. A character in Henry 
VIII, introduced in the first scene, where he is arrested for treason. 
His surveyor's testimony against him is given in i. 2, where the king 
admits his learning and eloquence. He is condemned in ii. 1, and 
speaks to the people. He was accused of aspiring to the throne, and 
was executed in 1521. The Buckingham of Richard III. was his 
father. 

Buckingham, Henry Stafford, Duke of, character in Richard 
III, first appears in i. 3. He was one of Richard's most powerful 
friends ; in Hi. 7, he tries to make the people declare him king, and 
offers him the crown. But he became disaffected because Richard 
would not grant him the earldom of Hereford, to which he had a 
claim, iv. 2, and joined in the conspiracy to place Richmond on the 
throne. He headed an insurrection in Wales, iv. 3 ; but his army 
was broken up by sudden floods, and deserted. He fled, but was 
taken, iv. 4, and executed at Salisbury, v. 1. His ghost appears to 
Richard, v. 3. He was a grandson of the Buckingham of II. Henry 
VI, and son of Sir Humphrey Stafford. 

Buckingham, Humphrey Stafford, Duke of, character in II. 
Henry VI. ; first appears in i. 1. He is on the side of the king. In 
III. Henry VI, i. 1, Edward, Earl of March, boasts of having 
wounded him at St. Alban's, where his son, Lord Stafford, was slain. 
He fell at the battle of Northampton in 1460. He was the son of 
the Lord Stafford mentioned in I. Henry IV., v. 3, as having been 
slain for the king, and the Buckingham of Richard III. was his 
grandson, son of the Lord Stafford who fell at St. Alban's. 

Buckle (bend), II. Henry IV., i. 1. 

Bucklers, give the (surrender), Much Ado about Nothing, v. 2. 

Bucklersbury, a place in the outskirts of London where herbs 
and drugs were sold, Merry Wives of Windsor, Hi. 3. 

Buckram, cases of (oversuits), I. Henry IV., i. 2. 

Buckram Scene, the, I. Henry IV., ii. 4. 

Bucks (household washing), II. Henry VI, iv. 2 ; buck-basket, 
Merry Wives of Windsor, Hi. 5. 

Bug (bugbear), Taming of the Shrew, i. 2, and elsewhere ; War- 
wick was the bug that feared us all, III. Henry VI, v. 2. 

Builder, the strongest, Hamlet, v. 1. 



4:6 INDEX TO SHAKSPERE'S WORKS. 

Bulks (projecting show-windows or outside stalls), Coriolanus, 
ii. 1 ; Othello, v. 1. 

Bull, the savage, etc., Much Ado about Nothing, i. 1 ; line from 
"The Spanish Tragedy," by Thomas Kyd, printed in 1603, but 
played before that time. It was much ridiculed by Kyd's contem- 
poraries. 

Bull-Baiting 1 , allusions to, Troilus and Cressida, v. 8 ; v. 7, 
" Now bull, now dog ! " 

Bullcalf, one of the recruits in 77. Henry IV., appears in 
Hi. 2. 

Bullets, paper, Much Ado about Nothing, ii. 3 ; leaden messen- 
gers, All's Well that Ends Well, Hi. 2. 

Bully Monster, The Tempest, v. 1. 

Bully Rook (a bold, bluff, rollicking fellow), Merry Wives of 
Windsor, ii. 1. 

Bully Stale, Merry Wives of Windsor, ii. 3. Bully was a fa- 
vourite word with the host of the Garter. 

Bunch of Grapes, the, Measure for Measure, ii. 1. It was cus- 
tomary to give such names to rooms in taverns. See Dolphin Cham- 
ber, and Jerusalem Chamber. 

Bung (cant for purse, here cutpurse), 77. Henry IV., ii. 4. 

Bunting, took this lark for a, AWs Well that Ends Well, ii. 3. 
A bird like the lark, but songless. 

Burgh, Hubert de. See Hubert de Burgh. 

Burgonet (helmet), II. Henry VI, v. 1; Antony and Cleopatra, 
i. 5. An anachronism. 

Burgundy, Duchess of, 777. Henry VI, ii. 1. She was third 
cousin to the young Plantagenets, though she is spoken of as their 
" kind aunt." 

Burgundy, Duke of, character in King Lear, appears in i. 1, a 
suitor for Cordelia ; but he withdraws the suit when she is disin- 
herited. He is called " waterish Burgundy." 

Burgundy, Philip the Good, Duke of, a character in Henry V., 
where he appears in the last scene, and in Henry VI, first appearing 
in ii. 1. His sister was married to Bedford, and he was in alliance 
with the English till 1435, when he was reconciled to the Dauphin 
through the mediation of the pope. In Hi. 3 he is represented as 
won over by Joan of Arc. His letter to Henry, announcing his 
change of alliance, iv. 1. 

Burial, Christian, given to a suicide, Hamlet, v. 1 ; with the head 
to the east, Cymbeline, iv. 2. 



INDEX TO SHAKSPERE'S WORKS. 47 

Burn, burning out a, Romeo and Juliet, i. 2. 

Burs, in the heart, As You Like It, i. 3. 

Burton-Heath (Barton-on-the-Heath), in Warwickshire, Taming 
of the Shrew, induction, 2. 

Bury St. Edmund's, abbey of, in Suffolk, scene of 11. Henry 
VI., i. 2. 

Bush, the thief doth fear each, III. Henry VI, v. 1; good wine 
needs no, As You Like It, v. 4. A bush of ivy was used at a vint- 
ner's door, ivy being sacred to Bacchus. 

Bushy, Sir John, a character in Richard II, introduced in i. 3. 
He is a parasite of the king's. " In this 22 year of King Richard the 
common fame ran that the King had letten to farm the realm unto 
Sir William Scrope, Earl of Wiltshire, and then Treasurer of Eng- 
land, to Sir John Bushy, Sir John Bagot, and Sir Henry Green, 
Knights." In the play only the Earl of Wiltshire is mentioned as 
having the realm in farm. 

Business, promptness in that, which we love, Antony and Cleo- 
patra, iv. 4- 

Butcher, privilege to a, II. Henry VI, iv. 3. Referring to the 
practice of favouring some butchers by permits to kill a certain 
number of cattle every week in Lent. 

But shall I go mourn, song, A Winter's Tale, iv. 3. 

Butter, pitiful-hearted, I Henry IV., ii. 4. 

Butterfly(ies), painted, Midsummer Night's Dream, Hi. 1 ; your, 
was a grub, Coriolanus, v. 4 / show not their mealy wings but to the 
summer, Troilus and Cressida, Hi. 3. 

Buttery-bar, Twelfth Night, i. 3. 

Buttons, 'tis in his (he can do it), Merry Wives of Windsor, Hi. 
1 ; (buds) Hamlet, i. 3. 

Butts, Sir William, the king's physician in Henry V11L, intro- 
duced in v. 2. He was a friend of Cranmer and adherent of the 
Protestant cause. 

Butt-shaft (arrow to be shot at a butt or mark), Love's Labour's 
Lost, i. 2, end. 

" But yet," dislike for, Antony and Cleopatra, ii. 5. 

By (aby, abide, pay for), III. Henry VI, v. 1. 

Cabin'd, cribb'd, confin'd, Macbeth, Hi. 4> 

Cacodaemon (an evil spirit), Richard III, i. 3. 

Caddises (crewels or braid), A Winter's Tale, iv. 3 or 4. 

Cade, Jack, leader of Cade's rebellion in 1450, who called himself 



48 INDEX TO SHAKSPERE'S WORKS. 

Mortimer. The murder of Suffolk at Dover was followed by a rumor 
that the king would take vengeance on the people of Kent, and this 
was the immediate cause of the insurrection, though under the king's 
weak rule there were real grievances to be redressed. Cade is a char- 
acter in II Henry VI., introduced in iv. 2. History says nothing 
of York's agency as spoken of in Hi. 1. In iv. 6, he takes possession 
of the capital by striking his staff on London stone (q. v.). He is 
killed by Iden, iv. 10. 

Cadmus (the legendary founder of Thebes, who introduced the 
alphabet into Greece), Midsummer-Night's Dream, iv. 1. 

Caduceus (Mercury's rod), Troilus and Cressida, ii. 3. 

Cadwal. See Arviragus. 

Cadwallader, Henry V., v. 1. The last Welsh king. 

Caesar, Julius, appears first in the second scene of the play that 
bears his name ; his physical feebleness described by Cassius, i. 2 ; 
his fearlessness, ii. 2 ; his refusal of the suit of Metellus, and his 
death, Hi. 1; his ghost, iv. 3 ; Octavius promises to avenge him, v. 
1; avenged, v. 3, " Thy spirit walks abroad," etc. 

"The character of Caesar is conceived in a curious and almost 
irritating manner. Shakspere (as passages in other plays show) was 
certainly not ignorant of the character of one of the world's great- 
est men. But here it is his weaknesses that are insisted on. He is 
failing in body and mind, influenced by superstition, yields to flat- 
tery, thinks of himself as almost superhuman, has lost some of his 
insight into character, and his sureness and swiftness of action. 
Yet the play is rightly named Julius Cmsar. His bodily presence is 
weak, but his spirit rules throughout the play, and rises after death 
in all its might, towering over the little band of conspirators, who at 
length fall before the spirit of Caesar as it ranges for revenge." — 
Dowden. 

Allusions to Caesar: The hook-nosed fellow, II. Henry IV., iv. 
2; quoted, II. Henry VI, iv. 7 ; began the Tower, Richard II. v. 
1 ; Richard III, Hi. 1. He did not build any part of it. Ship that 
bare, I. Henry VI, i. 2; commentaries of, 11. Henry VI, iv. 7; 
they that stabbed, 111. Henry VI, v. 5; Mark Antony and, Macbeth, 
Hi. 1 ; the dust of, Hamlet, v. 1 ; Cleopatra's praise of, Antony and 
Cleopatra, i. 5 ; death of, Antony and Cleopatra, ii. 6; in Britain, 
Cymbeline, Hi. 1. 

Caesar, Octavius (Augustus), who was triumvir after the death of 
Julius Caesar, is introduced in iv. 1 of Julius Caisar ; at Philippi, v. 
1. He is also a character in Antony and Cleopatra, introduced in 
i. 4- His fortune, ii. 3 ; Lepidus's praise of, travestied, Hi. 2 ; An- 
tony's complaint of, Hi. 4; laments Antony's death, v. 1. 



INDEX TO SHAKSPERE'S WORKS. 49 

In Julius Caesar, Antony " was placed beside a man. the young 
Octavius, who even then treated him, the elder in politics and war, 
with haughtiness ; in whose vicinity his genius (that is, the practi- 
cal, actively disposed part of his genius) felt itself oppressed, and 
before whom his courage, his nobility, his magnanimity bowed, al- 
though unwillingly. An inward misgiving warned the more pro- 
found Julius Caesar against Cassius ; it needed a soothsayer to warn 
this superficial being against Octavius [it. 3]. . . . Octavius owes 
his success more to Antony's luxuriousness. idleness, and frenzy than 
to his own merits. . . . Where [Antony] is genial and wanton, Octa- 
vius is full of petty carefulness ; where the one idly, voluptuously, 
and madly puts off, neglects, and forgets every public duty, the other 
is all conscientiousness, economy, activity, and thoughtful quickness, 
and is prompted at least as much by the common interests of the 
state as by personal ambition." — Gervinus. 

Caesars, there be many ere such another Julius, Cymbeline, 
iii. 1. 

Cage (for vagabonds and criminals), II Henry VI, iv. 2. 

Cain, the curse of, Hamlet, iii. 3, " The primal eldest." See 
Bible. 

Cain-coloured beard, Merry Wives of Windsor, i. 4- Cain 
was represented in old tapestry with a yellow beard. Some editors 
read cane-coloured. 

Caithness, a thane of Scotland, character in Macbeth, ap- 
pears in v. 2. Torfin, the son of Sigurd, affected to be independent 
Earl of Caithness during the whole reign of Duncan and of Mac- 
beth. 

Caius, Dr., character in the Merry Wives of Windsor, first 
spoken of in i. 1, introduced in i. 4. He is an irascible French phy- 
sician, uses amusing English, is a suitor to Anne Page, and sends a 
challenge to Parson Evans, i. 4. 

Caius, kinsman of Titus, in Titus Andronicus, addressed in iv. 
3 and v. 2. 

Caius, name assumed by Kent in King Lear. 

Cake, he that would have a, Troilus and Cressida, i. 1„' is 
dough, Taming of the Shrew, i. 1 ; v. 1. 

Cakes and ale, Twelfth Night, ii. 3. The usual entertainment 
on holidays and saints' days. 

Calamity, sticking together in, King John, Hi. 4 ; prepared for, 
Richard II, iii. 2 ; full of words, Richard III, iv. 4 ; wedded to, 
Romeo and Juliet, iii. 3. 

Calchas, a Trojan priest who was sent by Priam to consult the 
oracle at Delphi as to the result of the war. Being warned not to 
return, as Troy was to be destroyed, he took part with the Greeks. 



50 INDEX TO SHAKSPERE'S WORKS. 

Cressida was his daughter. He is introduced in in. 3 of Troilus 
and Cressida. 

Calendar(s), of nativity, Comedy of Errors, v. 1; of gentry, 
Hamlet, v. 2. 

Caliban, a deformed monster in The Tempest, half-human, half- 
demon, whom Prospero has made his slave. 

He is " all earth, all condensed, and gross in feelings and images ; 
he has the dawnings of understanding without reason or the moral 
sense, and in him as in some brute animals this advance to the intel- 
lectual faculties, without the moral sense, is marked by the appear- 
ance of vice." — Coleridge. 

Calipolis, feed and be fat, my fair, II. Henry IV., ii. 4. Trav- 
esty of a line in Peele's " Battle of Alcazar/' 

Callat (wanton), A Winter's Tale, ii. 3 ; Othello, iv. 2. 

Calpurnia, Caesar's wife, first appears in i. 2 of Julius Caisar ; 
her dreams and fears, ii. 2. 

Calumny, none can escape, Measure for Measure, Hi. 2 ; will 
sear virtue itself, A Winter's Tale, ii. 1 ; the fate of place, Henry 
VIII., i. 2 ; not to be escaped, Hamlet, Hi. 1. See also Slander. 

Calydon (a city of JEtolia in Greece), the prince in, 11. Henry 
VI, i. 1. Meleager. See Althea. 

Cambio, name assumed by Lucentio in Taming of the Shrew, ii. 1. 

Cambridge, Richard, Earl of, character in Henry V. His part 
in the conspiracy to kill the king is mentioned in the prologue to the 
second act. In the second scene of the same act his treachery is ex- 
posed and he is ordered to execution. He was son of Edmund Lang- 
ley, Duke of York, and brother of the York in this play. He is 
spoken of in I. Henry VI, ii. 5, in connection with the claim of the 
house of York to the throne. His wife was the sister of Mortimer ; 
and the Duke of York, their son and the father of Edward IV. and 
Richard III., inherited from his mother the claim of the Mortimers. 
Cambridge was beheaded in 1415. 

Cambyses, King, /. Henry IV., ii. 4. Allusion to a play by 
Thomas Preston, written about 1561, entitled "A Lamentable Trage- 
dy, mixed ful of pleasant Mirth, conteyning the Life of Cambises, 
King of Percia, from the beginning of his Kingdome unto his Death, 
his one good Deed of Execution after the many wicked Deeds and 
tirannous Murders committed by and through him, and, last of all, 
his odious Death by God's Justice appointed, doon in such order as 
foloweth." The story is from Herodotus and Justin. It was Lang- 
baine's conjecture that the direct allusion was to the opening speech 
of Cambyses, of which these lines are a specimen : 



INDEX TO SHAKSPERE'S WORKS. 51 

" My counsaile grave and sapient, 
With lords of legal train, 
Attentive eares towards us bend, 
And mark what shall be sain. 
My sapient words, I say, perpend, 

And so your skil delate : 
You know that Mors vanquished hath 

Cirus, the king of state ; 
And I, by due inheritance, 

Possess that princely crown, 
Ruling by sword of mighty force, 
In place of great renown." 
Camelot (in Somersetshire, where many geese are said to have 
been kept), King Lear, ii. 2. 

Camillo, a character in A Winter's Tale, introduced in i. 1. He 
is a lord of Sicilia, who, at the command of the king to poison his 
guest, gives Polixenes warning, and flees with him to Bohemia. 
Later in the play, he protects and advises Florizel and Perdita. 

Camomile, the, grows faster for being trodden upon, I. Henry 
IV, ii. 4. 

Campeius (Laurence Campeggio), cardinal and legate, character 
in Hmry VIII., introduced in u. 2. He was Bishop of Salisbury, 
but was deprived of his bishopric by Henry, who was irritated at his 
conduct concerning the divorce from Queen Katherine. 

Canary, name of a lively dance and also of a wine, Love's La- 
bour's Lost, Hi. 1 ; Merry Wives of Windsor, Hi. 2, end; AIVs Well 
that Ends Well, ii. 2. The dance is said to have originated in the 
Canary Isles. 

Cancer, more coals to, Troilus and Cressida, ii. 3. 
Candle, how far that little, Merchant of Venice, v. 1 ; out, brief 
candle, Macbeth, v. 5. 

Candle-wasters (book-worms), Much Ado about Nothing, v. 1. 
Canidius, Antony's lieutenant-general, introduced in Hi. 7, of 
Antony and Cleopatra ; his desertion, iv. 6. 
Cards (dog), Love's Labour's Lost, v. 2. 

Canker, in the bud, Two Gentlemen of Verona, i. 1 ; hath not 
thy rose a. Somerset, 7. Henry VI, ii. 4,' (the dog-rose), Much Ado 
about Nothing, i. 3 ; I. Henry IV., i. 3 ; Sonnet liv. 

Cannibals, II. Henry IV, ii. 4; Othello, i. 3 ; King Lear, i. 1, 
" Make his generation messes." See Anthropophagi. 

Cannon, King John, i. 1. Gunpowder was not used until nearly 



52 INDEX TO SHAKSPERE'S WORKS. 

a hundred years later. Cannons are said to have been first used by 
the English at the battle of Cressy in 1346, though the Moors used 
them in the year 1280. Another allusion is in Macbeth, i. 2. 

Cannon-balls (gun-stones), Henry V, i. 2. In the earliest days 
of the use of artillery, stone balls were fired from the guns. 

Canterbury, Arundel, Archbishop of, mentioned in Richard II, 
ii. 1, as one of those with Bolingbroke. He crowned Bolingbroke as 
Henry IV. in 1399. 

Canterbury, Henry Chicheley, Archbishop of, character in Hen- 
ry V., enters in the first scene, where he describes the change in the 
king, and hopes to induce him to repeal the order passed in the last 
reign for seizing property of the Church, by offering a large sum for 
the wars in France. In the second scene he explains the claim of 
the king to the crown of France, and eloquently urges Henry to en- 
force his claim. He was the founder of All Souls' College, Oxford. 

Canterbury, Thomas Bourchier, Archbishop of. See Bour- 
chier. 

Canterbury Pilgrims, I. Henry IV, i. 2. Pilgrimages were 
made to the shrine of St. Thomas a Becket at Canterbury. 

Cantle (corner or part), I. Henry IV., Hi. 1 ; Antony and Cleo- 
patra, Hi. 8 or 10. 

Cantons (cantos), Twelfth Night, i. 5. 

Canvass, L Henry VI., i. 3. To trap, as wild fowl were taken 
in a canvass or net. 

Cap, order for a woman's, Taming of the Shrew, iv. 3. 

Caper, Master, a prisoner, Merry Wives of Windsor, iv. 3. 

Capet, Hugh, his title to the crown of France, Henry V., i. 2. 

Caphis, servant of one of the creditors of Timon of Athens, in- 
troduced in ii. 1, where he is sent to dun for his master's due. 

Capilet, family of, AWs Well that Ends Well, v. 3. 

Capilet, my horse, grey, Twelfth Night, Hi. 5. 

Capocchia (fool), Troilus and Cressida, iv. 2. 

Capon, Love's Labour's Lost, iv. 1. The French poulet means 
both a young fowl and a love-letter. 

Captain, the title of, II. Henry IV, ii. 4. 

Captious, and intenible (taking in, not holding), AIVs Well that 
Ends Well, i. 3. 

Capucius, Eustachius, ambassador from Charles V., character in 
Henry VIII., introduced in iv. 2. He was present at the death of 
Queen Katherine in 1536. 

Capulet, character in Romeo and Juliet, introduced in i. 1, 



INDEX TO SHAKSPERE'S WORKS. 53 

Juliet's father, an irascible, tyrannical, meddlesome old man, un- 
steady in his feelings, and illogical in his actions and conversation. 

Capulet, Lady, introduced in Romeo and Juliet, i. 1, a cold- 
hearted, conventional, unimpressible person, for whom Juliet in 
quiet times shows a decent filial regard, but from whom she expects 
no sympathy with her stronger feelings or in her troubles. 

Car, John de la, the Duke of Buckingham's confessor, Henry 
VIIL, i.l; ii.l. 

Carack(s), Comedy of Errors, Hi. 2 ; Othello, i. 2. Large ships 
of burden. 

Caraway, eaten with apples, II. Henry I V, v. 3. 

Carbonado (a slice cut for frying), All's Well that Ends Well, 
iv. 5 ; 1. Henry I V., v. 3 ; Coriolanus, iv. 5 ; King Lear, ii. 2. 

Carbuncle, the ; allusions to its supposed power of giving out 
unreflected light, Titus Andronicus, ii. 3; Henry VIIL, ii.3 ; Ham- 
let, ii. 2. 

Carded (mixed), I. Henry IV., Hi. 2. 

Cards, games of: Primero, Merry Wives of Windsor, iv.5 ; Hen- 
ry VIIL, v. 1 ; a card of ten (possibly also an allusion to primero), 
Taming of the Shrew, ii. 1 ; the best cards, King John, v. 2 ; the 
king was fingered from the deck, III. Henry VL, v. 1 ; he lurched 
all swords, Coriolanus, ii. 2. (To lurch was to win easily) ; hardly 
shall I carry out my side (get the game), King Lear, v. 1. 

Carduus Benedictus (holy thistle, a medicinal herb, thought 
good for heart-diseases). Much Ado about Nothing, Hi. 4.. 

Care, business, Merchant of Venice, i. 1 ; killed a cat, Much Ado 
about Nothing, v. 1 ; an enemy to life, Twelfth Night, i. 3 ; on earth, 
Richard IL. ii. 2 ; premature aging by, /. Henry VL, ii. 5 ; no cure, 
I. Henry VL, Hi. 3 ; in the aged, Romeo and Juliet, ii. 3. 

Careires (short turning of a horse from side to side), Merry 
Wives of Windsor, i. 1. 

Carkanet (necklace), Comedy of Errors, Hi. 1 ; iv. 1. 

Carl (churl), Cymbeline, v. 2. 

Carlisle, Thomas Merks, Bishop of, character in Richard IL, 
introduced in Hi. 2. He was arrested for treason, iv. 1, but par- 
doned by Henry IV., v. 6. 

" The grand type of genuine loyalty who stands faithfully by the 
side of the lawful King, without concealing from him the stern voice 
of truth ; who defies the unlawful usurper in the public assembly, 
but still elicits, even from the latter, true honour, favour, and es- 
teem." 



54: INDEX TO SHAKSPERE'S WORKS. 

Carnations, A Winter's Tale, iv. 3 or 4. 

Carp, of truth, Hamlet, ii. 1. The carp was proverbially the 
wisest of fishes. Its brain is said to be six times as large as the aver- 
age fish-brain. 

Carpets (tapestry table-cloths), Taming of the Shrew, iv. 1. 

Carping, not commendable, Much Ado about Nothing, Hi. 1. 

Carriage (load). Tlie Tempest, v. 1 ; King John, v. 7. 

Carriers, conversation between, i". Henry 1 V., ii. 1. 

Cart, the horse drawn by the, King Lear, i. 4. 

Carthage, .Dido, the Queen of, Merchant of Venice, v. 1; The 
Tempest, ii. 1. 

Carve (to make gestures), Love's Labour's Lost, v. 2 ; Merry 
Wives of Windsor, i. 3. 

Casca, character in Julius Caisar, first appears in i. 2. He is 
bitter and sarcastic, and, though a friend of Caesar, is drawn into the 
conspiracy by Cassius, and is one of the assassins, Hi. 1, the first to 
strike. Antony calls him " the envious Casca," Hi. 2. 

Case (pair or box ?), of lives, Henry V., Hi. 2. 

Cashiered (relieved of cash), Merry Wives of Windsor, i. 1, 

Caskets, choice of the, 31erchant of Venice, ii. 7, 9; Hi. 2. 

Cassandra, Priam's daughter, character in IVoilus and Cres- 
sida, introduced in ii. 2. Apollo gave her the gift of prophecy, but 
afterward ordained that her prophecies should never be believed. In 
v. 3 she foretells the death of Hector. 

Cassibelan, Cymbeline, i. 1 ; Hi. 1. He was King of Britain be- 
fore Tenantius, the father of Cymbeline, and, being conquered by the 
Romans, agreed to pay tribute, b. c. 54. 

Cassio, Michael, a Florentine, Othello's lieutenant, introduced in 
*. 2. Iago, who hates him for having been promoted above himself, 
contemptuously describes him in i. 1 as an arithmetician, the Floren- 
tines being noted for banking and accounting. He is frank, simple, 
and straightforward, enthusiastically devoted to Othello, and a rever- 
ent admirer of Desdemona (ii. 1). He is disgraced, ii. 3 ; attacked 
by Roderigo and wounded by Iago, v. 1. 

Cassius, Caius, character in Julius Caisar, first appears in i. 2. 
He was married to Brutus's sister Junia. His leanness, i. 2 ; talks 
of Caesar with Brutus, **. 2; quarrel with Brutus, iv. 3; farewell to 
him, v. 1 ; his death, iv. 3. The character of Cassius is sharply con- 
trasted with that of Brutus. " He is keen, practical, prompt, ener- 
getic, severe, and inexorable; his hatred for tyranny is mingled 
with envy of the man whose life he had once saved, and for whose 



INDEX TO SHAKSPERE'S WORKS. 55 

physical powers he feels contempt, and yet who seems about to ' be- 
stride the narrow world like a Colossus.' A keen politician, he 
knows the special means to employ in influencing each of the con- 
federates. He is less noble, less pure and disinterested than Brutus, 
less a man of thought and principle, more a man of action." His 
motive, Antony and Cleopatra, ii. 6 ; struck, Antony and Cleopatra, 
Hi. 9 or 11. See also Brutus. 

Cassocks (soldiers' cloaks), AIVs Well that Ends Well, iv. 3. 

Castilian (then used as a term of reproach), Merry Wives of 
Windsor, ii. 3. 

Castiliano vulgo (probably a blunder for volto), with a Spanish, 
or sober, face, Tweljth Night, i. 3. 

Castle (a strong helmet), Troilus and Cressida, v. 2 ; Titus An- 
dronicus, Hi. 1. 

Castle, old lad of the, I. Henry IV, i. 2. Allusion to Oldcastle, 
the name first given to Falstaff, q. v. 

Casuistry, of the legate, King John, Hi. 1. 

Cat(s), The Tempest, ii. 1 ; Midsummer-Night's Dream, Hi. 2 ; 
Coriolanus, iv. 2 ; in a bottle like a, Much A do about Nothing, i. 1 ; 
allusion to the sport of hanging up a cat in a bottle of soot and 
striking it ; the winner was the one who could break the bottle and 
escape the soot. In some places the cat was afterward tortured to 
death. Care killed a, Much Ado about Nothing, v. 1 ; a traitor, a, 
AWs Well that Ends Well, iv. 3 ; aversion to, Merchant of Venice, 
iv. 1 ; AIVs Well that Ends Well, iv. 3 ; prince of cats. See Tybalt. 
Nine lives of, Romeo and Juliet, Hi. 1; in the adage, Macbeth, i. 7 ; 
familiar of witches, Macbeth, i. 1; iv. 1; melancholy, I. Henry IV., 
i.2. 

Catalan (Chinaman, cheat), Merry Wives of Windsor, ii. 1 ; 
Twelfth Night, ii. 3. 

Cataract (on the eye, called the web and pin), A Winter's Tale, 
i. 2 ; King Lear, Hi. 4. 

Catechism, Falstaff 's, on honour, I. Henry IV, v. 1. 

Cater-cousins, Merchant of Venice, ii. 2. Quater or quarter- 
cousins. 

Caterpillars, of the commonwealth, Richard II., ii. 3 ; II. 
Henry VI., Hi. 1 ; scholars, etc., called, II. Henry VI, iv. 4. 

Catesby, Sir William, character in Richard III, first appears in 
*. 3. He was unscrupulous in his devotion to the cause of Richard, 
was taken prisoner at Bosworth, and executed by order of Henry 
VII., August 25, 1485. His name is played upon in the rhyme : 
6 



56 INDEX TO SHAKSPERE'S WORKS. 

"The Cat, the Rat, and Lovel the Dog, 
Rule all England under the Hog." 

Catling, Simon, a musician in Romeo and Juliet, iv. 4, named 
from a string of catgut. 

Catlings (catgut strings), Troilus and Cressida, Hi. 3. 

Cato, mentioned, Coriolanus, i. 4- So in Plutarch, where it is 
the author's comment, not that of a character, as here. Cato was 
much later than Coriolanus. His suicide, Julius Cc&sar, v. 1. 

Cato, young, character in Julius Ccesar, appears in v. 3, and is 
slain in the following scene. 

Cat o' mountain, pinch-spotted, The Tempest, iv. 1. 

Causeless (supernatural), AIVs Well that Ends Well, ii. 3. 

Cause(s), a common, Troilus and Cressida, ii. 2 ; good or bad, 
II. Henry 1 V, iv. 1 ; Henry V., iv. 1 ; II. Henry VI, Hi. 2. 

Causes, inquiry into, A Winter's Tale, i. 2. " How should this 
grow," etc. 

Cautels, cautelous (deceptions, deceitful), Coriolanus, iv. 1; 
Julius Co&sar, ii. 1 ; Hamlet, i. 3 ; Lover's Complaint, I. 303. 

Caution, in war, II. Henry IV., i. 3 ; in trusting men, Henry V., 
ii. 3 ; in observing signs of evil, Richard III, ii. 3 ; an adder in the 
path craves wary walking, Julius Caisar, ii. 1 ; of age, Hamlet, ii. 1. 

Cavaleiro-Justice, applied to Shallow by the Host, Merry Wives 
of Windsor, ii. 1. 

Caviare to the general, Hamlet, ii. 2. Caviare was a dish 
made from sturgeons' roes, not liked by many. 

Cawdor, Thane of, his revolt and the title given to Macbeth, i. 2 ; 
Macbeth hailed as, i. 3 ; death of the former thane, *". 4> The account 
corresponds with that by Stowe of the death of the Earl of Essex. 

Cecily. See York, Duchess of. 

Celerity, most admired by the negligent, Antony and Cleopatra, 
Hi. 7. 

Celia, character in As Yon Like It, introduced in the second 
scene, cousin of Rosalind, and her companion in the forest under the 
name of Aliena. " Celia is more quiet and retired ; but she rather 
yields to Rosalind than is eclipsed by her. She is as full of sweet- 
ness, kindness, and intelligence, quite as susceptible, and almost as 
witty, though she makes less display of wit. She is described as less 
fair and less gifted ; yet the attempt [by her father] to excite in her 
mind a jealousy of her lovelier friend . . . fails to awaken in the 
generous heart of Celia any other feeling than increased tenderness 
and sympathy for her cousin." 



INDEX TO SHAKSPERE'S WORKS. 57 

Celibacy. See Maidenhood and Marriage. 

Censure, taken to one's self, As You Like It, ii. 7 ; take each 
man's, Hamlet, i. 3. 

Censures (advice), Richard III., ii. 2. 

Censurers, of those in power, Henry VIII, i. 2. 

Centaur, the (inn), Comedy of Errors, i. 2. 

Centaurs (monsters, half man, half horse), Midsummer-Night 's 
Dream, v. 1 ; King Lear, iv. 6 ; Titus Andronicus, v. 2. 

Century (a hundred), King Lear, iv. 4 ; Coriolanus, i. 7 ; Cym- 
beline, iv. 2. 

Cerberus (the three-headed dog at the entrance to Tartarus), 
Love's Labour's Lost, v. 2; II. Henry IV., ii. 4; Titus Andronicus, 
ii. 4 or 5 ; Troilus and Cressida, ii. 1. 

Ceremony, the idol, Henry V., iv. 1 ; not needed in true friend- 
ship, Timon of Athens, i. 2 ; an indication of cooling friendship, 
Julius Caesar, iv. 2 ; sauce to meat, Macbeth, Hi. 4; mere mechanic 
compliment, Antony and Cleopatra, iv. 4> 

Ceremonies (interpretation of omens), Julius Caisar, ii. 
1,2. 

Ceres (goddess of the harvest), The Tempest, iv. 1 ; II. Henry 
VI, i. 2. 

Cerimon, a lord of Ephesus, in Pericles, introduced in Hi. 2 ; 
his healing art, Hi. 2 ; v. 3. " Cerimon, who is master of the secrets 
of nature, who is liberal in his ' learned charity,' ... is like a first 
study for Prospero." — Bowden. 

Cesario, name assumed by Viola in Twelfth Night. 

Cess (measure), out of all, 1. Henry IV, ii. 1. 

Chafe, the carriage of (bearing of anger), Antony and Cleopatra, 
i.3. 

Chain, speech like a tangled, Midsummer-Nighfs Dream, v, 1 ; 
rub your chain with crumbs, Twelfth Night, ii. 3. Stewards and 
other upper servants wore chains of gold or silver. 

Challenge(s), from Caius to Evans, Merry Wives of Windsor, 
i. 4,' directions for a, Twelfth Night, Hi. 2 ; sent, Twelfth Night, Hi. 
4 ; of Bolingbroke to Norfolk, Richard IL, i. 1 ; Aumerle to Bagot, 
Richard II, iv. 1; cf the prince to Hotspur, I. Henry IV., v. 1, 2 ; 
Hector's, Troilus and Cressida, i. 3 ; Laertes to Hamlet, Hamlet, v. 2 ; 
Albany's to Edmund, King Lear, v. 3 ; Antony's to Caesar, Antony 
and Cleopatra, Hi. 11 or 13. See Gloves. 

Cham, the great (sovereign of Tartary), Much Ado about Noth- 
ing, ii. 1. 



58 INDEX TO SHAKSPERE'S WORKS. 

Chamber, to your, Richard III., Hi. 1. London was called the 
king's chamber. 

Chamberlain, the, a character in /. Henry IV., in league with 
the highwaymen, ii. 1. 

Chamberlain, the lord, character in Henry VIII, introduced 
in i. 3. Sir Charles Somerset, Earl of Worcester. 

Chambers, Henry VIII., i. 4. Short pieces of ordnance, used 
chiefly on festive occasions. 

Chameleon, the, Two Gentlemen of Verona, ii. 1, 4 ; Hamlet, Hi. 
2; referring to the supposed fact that it lived on air; its changes of 
colour, III. Henry VI, Hi. 2. 

Champ, Richard du, a modern French name oddly used in Cym- 
beline. iv. 2. 

Champions, encounter of, in the lists, Richard II, i. 3 ; hon- 
ours of, affect the reputation of the whole, Troilus and Cressida, i. 
3 ; near the end like a bold, Pericles, i. 1. 

Chance, staking on, Merchant of Venice, i. 1, " In my school- 
days," etc. ; Richard III, v. 4, " I have set my life," etc. ; fulfilment 
of prophecy to be left to, Macbeth, i. 3 ; Hi. 1. See also Fort- 
une. 

Chancellor, the lord, character in Henry VIII., introduced in 
v. 2. Sir Thomas More. 

Change, in a man's disposition, Coriolanus, v. 4 ; the lament- 
able, King Lear, iv. 1 ; of sovereigns, King John, Hi. 4> 

Changeling (child supposed to be left by fairies in place of an- 
other), 3Iidsummer-NighVs Dream, ii. 1 ; A Winter's Tale, Hi. 3 ; iv, 
3; I. Henry IV., i. 1. 

Changes, wrought by time, II. Henry I V., Hi. 1. 

Channel, called the sea, III. Henry VI., ii. 2. 

Chanticleer, The Tempest, i. 2, song. 

Chantries, little chapels where masses were said for the dead 
founders of churches, Twelfth Night, iv. 3 ; Henry V., iv. 1. 

Chapeless (chape, catch of the scabbard), Taming of the Shrew, 
Hi. 2. 

Character, a high, Two Gentlemen of Verona, H. 7, " His words 
are bonds," etc. ; manifested, Measure for Measure, i. 1 ; tests of, 
Measure for Measure, i. 4, end ; of Wolsey, Henry VIII, iv. 2 ; 
change in, Coriolanus, v. 4 >' obscured by one defect, Hamlet, i. 4 ; 
sudden change in, King Lear, i. 1, "This is most strange," etc.; 
beauty of, a reproof to sin, Othello, v. 1. 

Charactery (writing), Julius Catsar, ii. 1, and elsewhere. 



INDEX TO SHAKSPERE'S WORKS. 59 

Characts (appellations), Measure for Measure, v. 1. 

Chares (chores), Antony and Cleopatra, iv., end; v. 2, 

Charge-House (free school), Love's Labour's Lost, v. 1. 

Charing-Cross, I. Henry IV., ii. 1. Regarded as the central 
point of London. 

Charity, a neighbourly, Merchant of Venice, i. 2 ; fulfils the 
law, Love's Labour's Lost, iv. 3 ; capricious, II. Henry IV., iv. 4. 
See also Bounty. 

Charity, St., Hamlet, iv. 5. 

Charlemagne, a physician that could raise, AIVs Well that 
Ends Well, ii. 1 ; and the Salic law, Henry F., i. 2. 

Charles, the wrestler thrown by Orlando in As You Like It, in- 
troduced in i. 1 ; the wrestling-match is in i. 2. 

Charles V., Emperor of Germany, Henry VIII., i. 1 ; Wolsey's 
revenge on, ii. 1. 

Charles VI., of France, character in Henry V., first appears in 
tt. 4. He shows a more just idea of the strength of the English than 
do his nobles. 

Charles VII., of France, character in I. Henry VI., introduced 
in i. 2, but spoken of in the first scene. His success began with the 
advent of Joan of Arc, i. 2 ; his compact with the English, v. 4. 

Charles's "Wain, /. Henry IV, ii. 1. Said to be a corruption 
of Chorl's or Churl's Wain — the Great Bear. Some, however, sup- 
pose the constellation to have been named in honour of Charlemagne. 

Charmian, character in Antony and Cleopatra, introduced in 
L 2, an attendant and confidante of Cleopatra. 

Charms, magic, The Tempest, i. 2 ; ii. 1, 2 ; Hi. 2 ; iv. 1; v. 1; 
Richard III, Hi. 4 »" Macbeth, iv. 1 ; King Lear, ii. 1 ; love, Othel- 
lo, i. 1, 2, 3 ; allusion to charms against death, Cymbeline, v. 3, " In 
mine own woe charmed," etc. ; silence for a, Othello, v. 2. 

Charneco, II. Henry VI., ii. 3. A kind of sweet wine made in 
Charneco, Portugal. 

Charnel-house, horrors of a, Romeo and Juliet, iv. 3. 

Charolois, mentioned, Henry V, Hi. 5. 

Charon, who ferried the dead over the river Acheron, Richard 
III. i. 4 ,' Troilus and Cressida, Hi. 2. 

Chartreux, monk of the, Henry VIII., i. 1. 

Charybdis, Merchant of Venice, Hi. 5. 

Chase, the, Venus and Adonis, I. 3. 

Chase, terms of the. See Hunting Terms. 

Chastity, Romeo and Juliet, i. 1 ; more than life, Measure for 



60 INDEX TO SHAKSPERE'S WORKS. 

Measure, ii. 4 ; ice of, As You Like It, Hi. 4 ; as the icicle, Coriola- 
nus, v. 3 ; Cymbeline, ii. 3. 

Chatham, clerk of, a character in II. Henry VI, introduced in 
iv. 2. 

Chatillon, Hugh de, French ambassador in King John, intro- 
duced in the first scene. 

Chatillon, Jaques, mentioned in Henry V, Hi. 5 ; iv. 8. 

Chaudron (entrails). Macbeth, iv. 1. 

Cheapside, II. Henry VI, iv. 2, 7. 

Cheater (or escheater, an officer that looked after reversions), 
Merry Wives of Windsor, i. 3. 

Check, Hamlet, iv. 7 (or 4), and elsewhere. Said of a hawk that 
starts away from the lure. 

Cheerfulness, Merchant of Venice, i. 1, " Let me play the fool," 
etc.; conduces to longevity, Love's Labour's Lost, v. 2; a merry 
heart goes all the day, A Winter's Tale, iv. 2. 

Cheese, allusion to the love of the Welsh for, Merry Wives of 
Windsor, v. 5 ; Thersites called, Troilus and Cressida, ii. 3. 

Cherry-pit (a game of pitching cherry-stones), Twelfth Night, 
Hi. 4> 

Chertsey, monastery, Richard III, i. 2. 

Cherubin (old form of the word cherub), The Tempes', i. 2, and 
elsewhere. 

Chess, allusions to : Taming of the Shrew, i. 1, " To make a 
stale of me," etc. ; The Tempest, v. 1 ; King John, ii. 1, " Mayst be 
a queen and check the world : " i7. Henry VI, Hi. 1, " Mates," etc. 

Chester, II. Henry IV., i. 1. 

Chests, or caskets, the choice in, Merchant of Venice, i. 2. 

Cheveril (kid), Twelfth Night, Hi. 1 ; Romeo and Juliet, ii. 4 / 
a conscience of, Henry VIII, ii. 3. 

CheWet, I. Henry IV., v. 1. Probably the same as chough, 
jackdaw. 

Chicheley, Henry. See Canterbury. 

Chiding 1 , of lovers, Two Gentlemen of Verona, Hi. 1; of chil- 
dren. Othello, iv. 2 ; II. Henry IV., iv. 4- 

Child (used for girl ?). A Winter's Tale, Hi. 3. Perhaps it should 
read " a god or a child," as the shepherd thought in Greene's story. 
Likeness of a, to its father, A Winter's Tale, ii. 3 ; pleadings of a, 
King John, iv. 1; government by a, Richard III, ii. 3; a dis- 
carded. King Lear, i. 1 ; a thankless, King Lear, i. 4 i H. 4- 

Childeric, mentioned, Henry V., i. 2. 



INDEX TO SHAKSPERE'S WORKS. 61 

Childhood) second. As You Like It, ii. 7 ; Hamlet, ii. 2. 

Childish-foolish, too, for this world, Richard III., i. 3. 

Children, should not know wickedness, Merry Wives of Wind- 
sor, ii. 2; ingratitude of, Measure for Measure, Hi. 1, " Friend hast 
thou none," etc. ; innocence and influence of, A Winters Tale, i. 2 ; 
cast away, ii. 3; wise, live not long, Richard III, Hi. 1; on the 
stage, Hamlet, ii. 2. Children as actors were much in fashion at the 
time the play was written. A company of them played at the Black- 
friars Theatre, and were called Children of the Revels ; unfilial, King 
Lear, ii. 4 ; dying before their parents, Lucrece, I. 1756 ; the beau- 
tiful should leave, Sonnets i. to xvii. See also Ingratitude. 

Child Roland, King Lear, Hi. J+. A fragment of an old ballad. 

Chine, mourning in the (mumps), Taming of the Shrew, Hi. 2 ; 
(variorum, " mose in the chine," not explained) ; of beef, Henry VIII, 
v. 4. 

Chiron, son of Tamora, in Titus Andronicus, introduced in i. 1 
(or 2), as a prisoner of the Romans. He is released by the emperor; 
plots against Lavinia, ii. 1, 3, 4 / is killed, v. 2. A brutal and dis- 
gusting character. 

Chisel, what, could cut breath, A Winter's Tale, iv. 3. 

Chivalry, I. Henry IV., v. 1; Henry F., iv. 6; in the vein of, 
Troilus and Cressida, v. 3. 

Choice, obligation to stand by one's, Troilus and Cressida, ii. 2. 

Choler, like gunpowder, Henry V., iv. 7 ; let reason question 
with, Henry VIII., i. 1. 

Chopine, Hamlet, ii. 2. A very thick-soled shoe or clog worn 
by Spanish and Italian ladies. 

Choplogic (to bandy words, quibble), Romeo and Juliet, Hi. 5. 

Chopping (changeable), Richard II, v. 3. 

Choruses, are introduced at the beginning of each act in Henry 
V., and first and second acts of Romeo and Juliet. 

Chough (jackdaw), The Tempest, ii. 1 ; Hamlet, v. 2; and else- 
where. 

Christ, atonement by, Measure for Measure, ii. 2, " He that 
might the vantage," etc. ; 77. Henry VI, Hi. 2, " To free us from 
his Father's wrathful curse " ; the captain, Richard II, iv. 1 ; 
" those blessed feet," I. Henry IV., i. 1 ; redemption by his blood, 
Richard III, i. 4. 

Christendoms (Christian names), AWs Well that Ends Well, i. 1 ; 
King John, iv. 1. 

Christenings. See Gossips, Spoons, and Elizabeth. 



62 INDEX TO SHAKSPERE'S WORKS. 

Christians, hatred toward. Merchant of Venice, i. 3 ; " mean to 
be saved," etc., Twelfth Night, Hi. 2 ; war between, King John, v. 
2; I. Henry IV., v. 1; crusade of, Richard II, iv. 1. 

Christmas-tide, Hamlet, i. 1, end; comedy for, Love's La- 
bour's Lost, v. 2 ; gambold for, Taming of the Shrew, induction, 2. 

Christom-child, Henry V., ii. 3. One that dies soon after its 
baptism. 

Chronicle, of day by day, The Tempest, v. 1 ; players are chroni- 
cles of the time, Hamlet, ii. 2. 

Chrysolite, one entire and perfect, Othello, v. 2. An old Jewish 
writer is said to have mentioned a chrysolite, a stone having super- 
natural virtues, which was in the form of a woman, and had power 
against all charms. 

Chuffs (coarse, fat fellows), /. Henry IV., ii. 2. 

Church, plain as the way to, where bells have knolled to, As 
You Like It, ii. 7 ; headship of the, in England, King John, Hi. 1 ; 
ransacking the, King John, Hi. 4 ; forgotten the inside of a, I. Hen- 
ry IV., Hi. 3 ; proposal to convert its property to uses of the state, 
Henry V., i. 1 ; attack on the, I. Henry VI, i. 1. 

Churchman, qualities becoming a, Henry VIII, Hi. 2 ; v. 3 ; 
I. Henry VI, Hi. 1. 

Churchyards, scenes in, Romeo and Juliet, v. 3 ; Hamlet, v. 1. 

Churlishness, As You Like It, H. 4. 

Cicely Hacket, Taming of the Shrew, induction, 2. 

Cicero (106-43 b. a), introduced as a character in Julius Caesar, 
i. 2 ; his eyes, i. 2; his reputation, ii. 1; would never follow a 
thing begun by others, H. 1 ; his death reported, iv. 3. Allusion to 
his murder, II Henry VI, iv. 1. 

Cicester, or Chichester, Richard II, v. 6. 

Cinna, one of the conspirators in Julius Cazsar, first appears in 
*. 3. After his exit his worth and popularity are spoken of. 

Cinna, a poet, character in Julius Cmsar, to be distinguished 
from the conspirator of the same name, appears in Hi. 3. Plutarch 
says he was mistaken for Cinna the conspirator, and slain by the 
people. 

Cinque-pace, Much Ado about Nothing, ii. 1. A dance in 
measures of five. 

Cinque-ports, the, Henry VIII, iv. 1. The five ports were 
Dover, Hastings, Hythe, Romney, and Sandwich. They had enjoyed 
special privileges since the days of Edward the Confessor (circa 1050), 
on condition of providing a certain number of ships in time of war. 



INDEX TO SHAKSPERE'S WORKS. 63 

Cipher, a, in a rich place, A Winter's Tale, i. 2 ; value of, Hen- 
ry V., *"., chorus ; without a figure, King Lear, i. 4. 

Circe (a fabled sorceress), cup of, Comedy of Errors, v. 1; Henry 
VL, v. 2. 

Circum circa (round about), Love's Labour's Lost, v. 1. 

Circumlocution, Measure for Measure, ii. 1, Pompey's account ; 
Armado's letter, Love's Labours Lost, i. 1 ; Romeo and Juliet, Hi. 
2, the nurse ; II. Henry IV., ii. 1, the hostess. 

Circum-mured (walled about), Measure for Measure, iv. 1. 

Circumspection, a tyrant's hatred of, Richard IIL, iv. 2 ; rec- 
om mended, Othello, Hi. 3. 

Circumstanced (content with circumstances), Othello, Hi. 4- 

Citizens, fat and greasy, As You Like It, ii. 1. 

City, the people are the, Coriolanus, Hi. 1. 

City woman, dress of the, As You Like It, ii. 7. 

Civet, Much Ado about Nothing, Hi. 2 ; As You Like It, Hi. 
2 ; to sweeten imagination, King Lear, iv. 6. 

Civility, Merchant of Venice, ii. 2; empty of, As You Like It, 
ii. 7. See Courtesy. 

Clack-dish (a rattling dish used by beggars), Measure for Meas- 
ure, Hi. 2. 

Claims, ancient, Henry V., ii. 4. 

Clamour your tcngues (set them all off together like a peal of 
bells to close the ringing), A Winter's Tale, iv. 3 or 4> 

Clare, St., sisterhood of, Measure for Measure, i. 5. 

Clarence, George, Duke of, son of the Duke of York, and brother 
of Edward IV. and Richard III. He is a character in III. Henry 
VL, introduced in ii. 6, where he is named Duke of Clarence. In 
iv. 1, he takes part with Warwick, ostensibly on account of Edward's 
marriage, and in v. 1 again changes sides. Richard's designs toward 
him are expressed at the end of v. 6. He is also introduced in Rich- 
ard III., i. 1; imprisoned in the Tower and secretly murdered, i.4t 
Edward's sorrow for his death, ii. 1. His ghost appears to Richard, 
v. 3. His children, ii. 2; iv. 1, 2, 3. The boy was Edward, Earl of 
Warwick. He was kept a prisoner after Bos worth, and put to death 
in 1499, on a charge of being an accomplice of Perkin Warbeck. He 
was the last Plantagenet. The character of Clarence seems to have 
deserved the epithets heard in his dream, i. 2, " false, fleeting, per- 
jured Clarence." 

Clarence, Thomas, Duke of, son of Henry IV., character in sec- 
ond part, introduced in iv. 4. 



64 INDEX TO SHAKSPERE'S WORKS. 

Claribel, daughter of the King of Naples, mentioned in The 
Tempest, ii. 1; v. 1. 

Claudio, character in Measure for Measure, introduced in i. 3. 
He is a young noble under sentence of death, on which sentence the 
plot of the drama depends. He is of light disposition, fickle, mer- 
curial, and of lively imagination, far inferior to his sister Isabella in 
strength and elevation of character. 

Claudio, the lover of Hero in Much Ado about Nothing, intro- 
duced in the first scene. He is a young Florentine, who has been in 
the wars with Don Pedro of Aragon, and his bravery is spoken of 
before he enters. 

" With regard to Claudio's character, Shakspere has so blended 
the elements in his nature, he has given such a good foundation of 
honour and self-reliance to his unstable mind and fickle youth, that 
we cannot, with all our disapprobation of his conduct, be doubtful 
as to his character. Changeable as he is, he continues stable in no 
choice of friends and loved ones, since he had never continuously 
tested them : at the slightest convulsion of events he is overpowered 
by first impressions, and he is without the strength of will to search 
to the bottom of things. This would be an odious and despicable 
character, if the changeableness were not tempered by the excita- 
bility of a tender feeling of honour." — Gervinus. 

Claudius, Brutus's servant in Julius Ccesar, appears in iv. 3. 

Claudius, King of Denmark, Hamlet's step-father, introduced 
in i. 2. In the original history he is called Fengo. He has poisoned 
Hamlet's father, i. 5, and possessed himself of his dominions and his 
widow. His remorse, Hi. 1, leads him to prayer, Hi. 4, but not to 
restitution or open repentance. He seeks Hamlet's life, v. 2, and 
after the failure of his first scheme, plots with Laertes, iv. 7, that 
Hamlet shall die by the poisoned foil, or afterward by the poisoned 
cup, iv. 7 ; and he himself receives them both, v. 2. 

Claw (flatter), Much Ado about Nothing, i. 3. 

Clay, differs in dignity, Cymbeline, iv. 2. 

Clean kam (nothing to the purpose), Coriolanus, Hi. 1. 

Clearness (from suspicion), that I require, Macbeth, Hi. 1. 

Cleomenes, an unimportant character in A Winter's Tale, sent 
by Leontes to the oracle at Delphos, ii. 3 ; Hi. 1. 

Cleon, Governor of Tharsus, character in Pericles, first appears 
in i. 4,' he is an accomplice after the fact in the supposed murder of 
Marina, iv. 3 (or Jj) ; his punishment, v.. end. 

Cleopatra, Queen of Egypt, introduced in the first scene of An- 
tony and Cleopatra. Her complexion, i, 1, 5 (she was of Greek ex- 
traction, and probably therefore not black) ; her age, i. 5 (she was 



INDEX TO SHAKSPERE'S WORKS. 65 

then twenty-eight) ; her splendor, ii. 2 ; anger and jealousy, ii. 5 ; 
carried in a mattress, ii. 6 ; Queen of Syria, Hi. 6 ; purpose to go 
into the war, Hi. 7 ; at Actium, hi. 8-10 ; her submission to Caesar, 
Hi. 11 or 13 ; charged by Antony with betraying him, iv. 10 or 12 ; 
feigns death, iv. 11, 12 or IS, 14 ; her grief for Antony, iv. 13 or 15 ; 
her horror of being carried to Rome, her message to Caesar, and her 
death, v. 2. 

" I have not the slightest doubt that Shakspere's Cleopatra is the 
real historical Cleopatra, the 'rare Egyptian,' individualized and 
placed before us. Her mental accomplishments, her unequalled 
grace, her woman's wit and woman's wiles, her irresistible allure- 
ments, her starts of ungovernable temper, her vivacity of imagina- 
tion, her petulant caprice, her fickleness and her falsehood, her tender- 
ness and her truth, her childish susceptibility to flattery, her mag- 
nificent spirit, her royal pride, the gorgeous Eastern colouring of the 
character — all these contradictory elements has Shakspere seized, 
mingled them in their extremes, and fused them into one brilliant 
impersonation of classical elegance, Oriental voluptuousness, and 
gipsy sorcery. What better p^oof can we have of the individual 
truth of the character than the admission that Shakspere's Cleo- 
patra produces exactly the same effect on us that is recorded of the 
real Cleopatra? She dazzles our faculties, perplexes our judgment, 
bewilders and bewitches our fancy ; from the beginning to the end 
of the drama, we are conscious of a kind of fascination against which 
our moral sense rebels, but from which there is no escape." — Mrs. 
Jameson. 

Allusions to Cleopatra: As You Like It, Hi. 2, song ; a gipsy, 
Romeo and Juliet, ii. 4 ; her figure on tapestry, Cymbeline, ii. 4- 

Clepe (call), Hamlet, i. 4, and elsewhere. 

Clergy, the, like an effeminate prince, I. Henry VI, i. 1 ; robbed, 
II Henry VI, i. 3. 

Clergyman(men), good-humoured ridicule of, Merry Wives of 
WHidsor, Hi. 1 ; reproaches against a, I. Henry III, Hi. 1 ; in war, 
II Henry IV., i. 2 ; office of, II Henry IV., iv. 2. 

Cliff (clef), Troilus and Cressida, v. 2. 

Clifford, John, Lord, son of Thomas, character in II Henry VI, 
where he appears in v. 1 and 2 as " young Clifford," and in III 
Henry VI, introduced in the first scene. In revenge for his father's 
death, he kills the young Earl of Rutland in cold blood, i. 3, and for 
his cruelty he receives the name of " the butcher," act ii., scene 2. 
In i. 4 he is represented as stabbing York, and in ii. 3, Warwick's 
brother, and fighting with Richard, ii. 4. His death at the battle of 
Towton, ii. 6. He was in reality slain shortly before that battle, at 
Ferrybridge (March 28, 1461), where he first defeated the Yorkists, 



66 INDEX TO SHAKSPERE'S WORKS. 

and was then defeated by them under Lord Falconberg. His murder 
of Rutland is again spoken of in Richard III., i. 2. 

Clifford, Thomas, Lord, character in II. Henry VI, introduced 
in v. 1. He was a grandson of Hotspur, and a partisan of Henry. 
He was killed at the battle of St, Albans (February 17, 14G1), v. 2. 

Cliffs, at Elsinore, Hamlet, i. 4 ; at Dover, King Lear, iv. 6 ; 
Comedy of Errors, Hi. 2 ; II. Henry VI, Hi. 2. 

Clifton, Sir John, at Shrewsbury, 7. Henry IV., v. 4. 

Cling (wither), Macbeth, v. 5. 

Clinquant, tinsel, Henry VIII, i. 1. 

Clip (to clasp, embrace), II. Henry VI, iv. 1, and elsewhere. 

Clitus, a servant of Brutus in Julius Ccesar, appears in v. 5. 

Cloak, an old, makes a new jerkin, Merry Wives of Windsor, i. 
3 ; on a horse, II Henry VI, iv. 7 ; my inky, Hamlet, i. 2. 

Clock(s), a woman like a German, Love's Labour's Lost, Hi. 1, 
end ; time hath made me his, Richard II, v. 5 ; their arms are set 
to strike on like, Henry VI, i. 2. 

Cloten, son of the queen in Cymbeline, introduced in i. 2. He 
was intended by the king and queen for Imogen's husband. His 
wickedness, i. 1 ; encounter with Posthumus, i. 1, 2 ; Imogen's opin- 
ion of, Hi. 4 ; his death, iv. 2. 

" The character of Cloten, the conceited, booby lord, and rejected 
lover of Imogen, though not very agreeable in itself, and at present 
obsolete, is drawn with great humour and knowledge of character." 
— Hazlitt. 

Clothair, Henry V., i. 2; Henry VIII, i. 3. 

Clothes, the soul of a man, All's Well that Ends Well, ii. 5 ; 
tattered clothes, King Lear, iv. 6 ; but one suit of, Taming of the 
Shrew, induction, 2, " What raiment I'll wear," etc. 

Clotpolt(s) (blockheads), Oswald a, King Lear, i. 4 ; Troilus and 
Cressida, ii. 1 ; Cymbeline, iv. 2. 

Cloud, in the face, Antony and Cleopatra, Hi. 2. A horse is said 
to have a cloud in his face when he has a dark spot between the 
eyes. 

Cloud(s), when, appear, wise men put on their cloaks, Richard 
III, ii. 3 ; overcome us, like a summer, Macbeth Hi. 4,' forms of. 
The Tempest, ii. 2 ; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 12 
or 14. 

Clout, the, Love's Labour's Lost, iv. 1 ; King Lear, iv. 6, and 
elsewhere. The bull's-eye of the target, a piece of white cloth. 

Clowder, name of a dog, Taming of the Shrew, induction, 1. 



INDEX TO SHAKSPERE'S WORKS. 67 

Clown, a, character in AIVs Well that Ends Well, introduced in 
the third scene. 

Clown, a character in A Winter's Tale, appears first in Hi. 3. 

Clown(s), acting by, Midsummer-Night' s Dream, v. 1 ; meat and 
drink to see a, As You Like It, v. 1 ; Hamlet, Hi. 2. See Jesters. 

Clubs, cry of, /. Henry VI, i. 3 ; Henry VIII, v. 4. A rallying- 
cry among apprentices. 

Clytus, mentioned, Henry V., iv. 7. 

Coals, carry, Henry V., Hi. 2 ; Romeo and Juliet, i. 1. To bear 
insults. 

Coat(s) of arms, the dozen white luces in their, Merry Wives 
of Windsor, i. 1; lions of England's, I Henry VI, i. 5; in heraldry, 
Midsummer-Nigh fs Dream, Hi. 2. 

Cobbler, a, Julius Cmsar, i. 1. 

Cobham, Edward Brooke, Lord, mentioned in III. Henry VI, 
in the second scene. 

Cobham, Eleanor. See Gloucester, Duchess of. 

Cobham, Reginald, Lord, mentioned in Richard II, ii. 1, as 
one of the adherents of Bolingbroke. He was the grandfather of 
the Duchess of Gloucester in II. Henry VI. 

Cobloaf (a small, misshapen loaf). Troilus and Cressida, H. 1. 
Alluding to the misshapen head of Thersites. 

Cobweb, a fairy in the 3Iidsummer-Nighf's Dream, Hi. 1. 

Cock, the word sometimes used as a corruption of " God," Ham- 
let, iv. 5, and elsewhere. 

Cockatrice, or basilisk, Richard III, iv. 1. It was fabled to 
be hatched by a toad or serpent from the egg of a cock ; kills by a 
look, Twelfth Night, Hi. 4; Romeo and Juliet, Hi. 2; Lucrece, I. 
540. See also Basilisk. 

Cock-a-whoop, set (begin a fight), Romeo and Juliet, i. 5. 

Cock-crow, The Tempest, i. 2, song ; Richard III, v. 3 ; ghosts 
vanish at, Hamlet, i. 1, 2 ; at Christmas, Hamlet, i. 1. 

Cock-fighting, allusions to, Antony and Cleopatra, ii. 3 ; Ham- 
let, v. 2, " The potent poison quite o'ercrows," etc. 

Cockle-hat, Hamlet, iv. 5, song. Hat with a cockle-shell, the 
pilgrim's badge, on it. 

Cockney (perhaps an under-cook, originally), Twelfth Night, iv. 
1 ; King Lear, ii. 4* 

Cock-shut time, Richard III, v. 3. Evening twilight, when 
nets, called cock-shuts, were set in the woods for woodcocks. 

Cocytus, Titus Andronicus, ii. 3 or 4. The river of lament. 
7 



68 INDEX TO SHAKSPERE'S WORKS. 

Codling (an unripe apple), Twelfth Night, i. 5. 

Cod's head, to change the, for the salmon's tail, Othello, ii. 1. 

Cceur de Lion (Richard I.), King John, i. 1 ; I. Henry VI., Hi. 2. 

Cog (to load dice, to cheat), Love's Labour's Lost, v. 2 ; Richard 
III, i. 3 ; Troilus and Cressida, v. 6, and elsewhere. 

Coigne of vantage (jutting point of a wall). Macbeth, i. 6. 

Coil, Two Gentlemen of Verona, i. 2; I am not worth this, King 
John, ii. 1 ; this mortal, Hamlet, in. 1. 

Colbrand, King John, i. 1 ; Henry VIII., v. 3. A Danish giant 
with whom Guy of Warwick fought before King Athelstane. 

Colchos, or Colchis, on the eastern shore of the Black Sea, where 
was the Golden Fleece, Merchant of Venice, i. 1. 

Coleville, Sir John, character in 11. Henry IV., introduced in 
iv. 3. He is a rebel, surrenders to Falstaff, and is ordered to execu- 
tion at York by Prince John of Lancaster. 

Collatinus, husband of Lucre ce, argument and I. 7. 

Collatium, southeast of Rome, scene of Lucrece. 

Collectors), of knowledge, As Ton Like It, ii. 7 ; of trifles, As 
You Like It, v. 4 / A Winter's Tale, iv. 2. 

Collied (black, as in the collieries), Midsummer-Night's Dream, 
i. 1; Othello, ii. 3. 

Collier (term of reproach), Twelfth Night, Hi. 4 ; Romeo and 
Juliet, i. 1. 

Collop (a slice of flesh ; figuratively, a child), A Winters Tale, i. 
2; I. Henry VI., v. 4. 

Colme-Kill (Colomb's Cell), Macbeth, ii. 4. The island Icolm- 
kill or Iona, one of the Hebrides, where Saint Colomb landed in the 
sixth century. The cathedral was a burial-place for kings. Forty- 
eight Scotch, four Irish, and eight Norwegian kings, besides many 
lords of the isles, are said to be buried there. 

Colossus, like a, Julius Ccesar, i. 2 ; Troilus and Cressida, v. 5. 

Colours, colourable (those not fast ?), Love's Labour's Lost, iv. 2. 

Colt (trick), I. Henry IV, ii. 2. 

Columbine, Hamlet, iv. 5. It was emblematic of lovers for- 
saken. 

Combat, clapper-clawing, Troilus and Cressida, v. 5 ; challenge 
to single, I. Henry IV., i. 3 ; v. 1 ; Troilus and Cressida, i. 3. See 
Challenges. 

Combined, combinate (pledged), Measure for Measure, Hi. 1 ; 
iv. 3. 

Come away, come away, Death, song, Twelfth Night, ii. 4. 



INDEX TO SHAKSPERE'S WORKS. 69 

Come-off (come down, pay), Merry Wives of Windsor, iv. 3. 

Come, thou monarch of the vine, song, Antony and Cleo- 
patra, ii. 7. 

Come unto the yellow sands, song, The Tempest, i. 2. 

Comedy, the most lamentable, Midsummer-Nig hfs Dream, i. 2 ; 
a sweet, iv. 2 ; catastrophe of the old, King hear, i. 2. 

Comedy of Errors, the, might be called a farce, so glaringly- 
improbable are the incidents ; was first published in the folio of 1623, 
but written long before, probably among the earliest of the plays. 
(See Henry IV. of France.) It is known to have been acted at the 
Christmas Revels at Gray's Inn in 1594. The plot is from a transla- 
tion by W. W. (William Warner) of the " Menaechmi " of Plautus, 
published in 1595, but made and circulated in manuscript some time 
before, or from an earlier English play, " The Historie of Error," 
acted at Hampton Court in 1576. A similar story is told in Goularb's 
"Admirable and Memorable Histories," 1607; and Dryden's play, 
" The Two Sosias," is founded on that of Plautus. In the original 
there is but one pair of twins. The play is full of anachronisms, and 
the time of action is indefinite. The scene is in Ephesus, a city that 
had a bad reputation for sorcery and all kinds of villainy. 

Comet(s), omens of evil, Taming of the Shrew, Hi. 2 ; I. Henry 
VI., i. 1 ; Hi. 2 ; Julius Ccesar, ii. 2 ; wondered at like a, 1. Henry 
IV., Hi: 2. 

Comfort, made of losses, All's Well that Ends Well, iv. 3 ; cold, 
King John, v. 7 ; in heaven, Richard II., ii. 2; in thoughts of 
others' misfortunes, Richard II, v. 5 ; hateful to the despairing, 
Richard II, Hi. 2 ; too late, Henry VIII, iv. 2. 

Comforters, profitless, Much Ado about Nothing, v. i. 

Cominius, a general, character in Coriolanus, introduced in i. 1. 

Commandments, the ten, Measure for Measure, i. 2 ; (the fin- 
gers) II. Henry VI, i. 3. 

Commentaries, Caesar's, II. Henry VI, iv. 7. 

Commentary, fearful, is servitor to dull delay, Richard III, 
iv. 3. 

Commission, Angelo's. Measure for Measure, i. 1; to right 
wrongs, a, King John, ii. 1 ; an altered, Hamlet, v. 2. 

Commodity (law or justice), Merchant of Venice, Hi. 3; (self- 
interest), power of, King John, end of act ii. 

Commons, the, love in their purses, Richard II, ii. 2. 

Commonty (comedy), Taming of the Shrew, induction, 2. 

Commonwealth, an ideal, The Tempest, ii. 1. This is taken 



70 INDEX TO SHAKSPERE'S WORKS, 

from Montaigne ; the king's, Love's Labour's Lost, iv. 1 ; disease of 
the, II. Henry 1 V., iv. 1. 

Companions, young, A Winter's Tale, i. 2; evil,//. Henry IV., 
iv. 4' 

Company (companion), All's Well that Ends Well, iv. 3. 

Company, too lavish of one's, /. Henry 1 V., Hi. 2, " God pardon 
thee," etc. ; caution concerning one's, /. Henry I V., ii. 4 > II Henry 
lV.,v.l. 

Comparative (one that makes comparisons, a would-be wit), /. 
Henry I V., i. 2 ; Hi. 2. 

Comparisons, are odorous, Much Ado about Nothing, Hi. 5. 

Compassed (circular) window, Troilus and Cressida, i. 2. 

Compassion, ///. Henry VI, i. 4, had he been slaughterman, 
etc. ; a grace of the gods, Coriolanus, v. 3. 

Compensations, for losses, AWs Well that Ends Well, iv. 3 ; 
Richard III, iv. 4, "The liquid drops," etc.; Cymbeline, iv. 2, 
" Some falls," etc. 

Competency, advantage of a moderate, Merchant of Venice, 
i.2. 

Competitors (confederates), Love's Labour's Lost, ii. 1 ; Twelfth 
Night, iv. 2. 

Complexion, fair, Twelfth Night, i. 5, " Tis beauty truly blent," 
etc. ; a dark, Merchant of Venice, ii. 1 ; Comedy of Errors, Hi. 2 ; 
" Mislike me not for my," etc., Othello, i. 2 ; Sonnets cxxvii., cxxx., 
cxxxi., cxxxii. 

Compliment(s), Two Gentlemen of Verona, ii. 4 ; Love's Labour's 
Lost, i. 1 ; like the encounter of dog-apes, As You Like It, ii. 5 ; ex- 
change of, As You Like It, Hi. 2 ; lowly feigning called, Twelfth 
Night, Hi. 1 ; Heaven walks on earth, Twelfth Night, v. 1 ; A Win- 
ter's Tale, iv. 3 or 4. See also Flattery. 

Composition (what was compounded for), Measure for Measure, 
v. 1 ; (consistency), Othello, i. 3. 

Compromise, inglorious, King John, v. 1; Richard II, ii. 1. 

Compt (judgment), Othello, v. 2. 

Comptible (accountable, sensitive), Twelfth Night, i. 5. 

Concealment, like a worm i' the bud, Twelfth Night, ii. 4. 

Concealments (mystic arts), /. Henry IV., Hi. 1. 

Conceit(s), winged, Love's Labour's Lost, v. 2 ; nearer death than 
the powers, As You Like If, ii. 6; derived from some forefather 
grief, Richard II, ii. 2 ; strongest in weakest bodies, Hamlet, Hi. 4 / 
may rob the treasury of life, King Lear, iv. 6. 



INDEX TO SHAKSPERE'S WORKS. 71 

Conclusion, lame and impotent, Othello, ii. 1; a foregone, 
Othello, Hi. 3. 

Conclusions (experiments), to try, Hamlet, Hi. 4 / Cymbeline, i. 5. 

Concolinel, Love's Labour's Lost, Hi. 1. Probably the begin- 
ning of a forgotten song. 

Condition (disposition), Merchant of Venice, i. 2 ; I. Henry 
IV., i. 3 ; (art) Timon of Athens, i. 1. 

Conduct. See Behaviour. 

Coney-catching (poaching, cheating), Merry Wives of Windsor, 
i. 1, 3 ; Taming of the Shrew, iv. 1 ; v. 1. 

Confect, Count, applied by Beatrice to Benedick, Much Ado 
about Nothing, iv. 1. 

Confession, of Boraehio, Much Ado about Nothing, v. 1 ; of 
Leontes, A Winter's Tale, Hi. 2 ; exhortation to, Richard II., i. 3 ; 
riddling, Romeo and Juliet, ii. 3. 

Confidence, in a leader, Julius Caisar, ii. 1; in one's cause, 
Richard II., i. 3; rash, All's Well that Ends Well, Hi. 6. 

Connners (borderers), Cymbeline, iv. 2. 

Confiscation, threatened, As You Like It, Hi. 1 ; Merchant of 
Venice, iv. 1; Comedy of Errors, i. 2 ; of John of Gaunt's property, 
Richard II, ii. 1. 

Confound (consume), I. Henry IV., i. 3 ; Coriolanus, i. 6. 

Confusion, how soon bright things come to, Midsummer-Night's 
Dream, i. 1; like a raven, King John, iv. 3 ; let confusion live, 
Timon of Athens, iv. 1. 

Conjurer (exorciser), Pinch in Comedy of Errors, v. 1. 

Conqueror, noise before and tears behind a, Coriolanus, ii. 1; 
afraid to speak, a, Love's Labour's Lost, v. 2 ; came over with the, 
Taming of the Shrew, induction, i. Sly calls him Richard. 

Conquest, a, with no profit in but the name, Hamlet, iv. 4. 

Conrade, one of the followers of Don John in Much Ado about 
Nothing, introduced in i. 3. 

Conscience, The Tempest, ii. 1 ; Hi. 3 ; examination of, Measure 
for Measure, ii. 2, 3 ; and the fiend, Merchant of Venice, ii. 2 ; si- 
lenced by interest, King John, iv. 2 ; tumult in, King John, iv. 2 ; 
clog of, Richard II, v. 6 ; a good, II. Henry IV., v. 5 ; outward, 
Henry V., iv. 1 ; a corrupted, II. Henry VI, Hi. 2, " Thrice is he 
armed," etc. ; fears of a guilty, III. Henry VI., v. 6, " The thief doth 
fear," etc. ; in a purse — makes cowards, Richard III, i. 4 ; hath a 
thousand tongues — is a coward and a word that cowards use, Richard 
III., v. 3 ; a tender place, Henry VIII, ii. 2 ; accusations of, Henry 



72 INDEX TO SHAKSPERE'S WORKS. 

VIII., ii. 4 ; a still and quiet, Henry V11L, Hi. 2 ; tortures of, Mac- 
beth, Hi. 2 ; v. 3 ; those thorns that in the bosom lodge, Hamlet, i. 
5 ; makes cowards, Hamlet, Hi. 1 ; ii. 4 ; a fettered, CymbelHie, v. 4 ; 
whose is entirely free, Othello, Hi. 3 ; warning of, Lucrece, 1. 190 ; in 
love, Sonnet cli. See also Remorse and Guilt. 

Consequence, yet hanging in the stars, Romeo and Juliet, i. 4; 
cannot be trammelled up, Macbeth, i. 7. 

Consideration, Julius Cmsar, i. 2; like an angel came, Henry 
V., i. 1. 

Consort (concert), Two Gentlemen of Verona, Hi. 2 ; (company), 
Two Gentlemen of Verona, iv. 1. 

Conspectuities (perceptions), Coriolanus, ii. 1. 

Conspiracies : The Tempest, ii. 1 ; of the Percys, I Henry IV., i. 
3 ; ii. 3, 4; tit. 1; iv.l; against the king's life, Henry V.,ii.2 ; II. 
Henry VI, i. 4 ; of Richard and Buckingham, Richard III, Hi. 1 ; 
against Caesar, Julius Ccesar, ii. 1. 

Conspiracy, beginning of, Julius Ccesar, i. 2 ; in darkness — 
ripened, Julius Caisar, ii, 1 ; popular, Coriolanus, Hi. 1. 

Conspirators, Henry V., ii., chorus ; leanness of, Julius Cmsar, 
i. 2 ; justifying themselves and anticipating their fame, Julius 
Ccesar, Hi. 1. 

Constable of France, Charles Delabreth or D'Albret, the, char- 
acter in Henry V., first appears in ii. 4. He is perhaps the finest 
character among the French nobles introduced into the play. He 
fell at Agincourt, October 25, 1415, iv. 8. 

Constance of Brittany, mother of Arthur in King John, intro- 
duced in ii. 1. After the death of Geoffrey Plantagenet, her hus- 
band, she was married by her father-in-law against her will to Ran- 
dal de Blondeville, whom she afterward separated from and then 
married Guy of Thouars. She died in 1201, before John gained pos- 
session of Arthur, though she is represented in the play as still liv- 
ing at that time and still a widow. Dramatically, Constance is a fine 
character. Her whole nature is dominated by her love for her son 
and her ambition for him. Without much principle or any fairness 
of mind, she is impassioned, imaginative, and eloquent where his 
rights are concerned, and some of the highest strains of poetry in the 
plays are uttered by her. See especially the scolding scene between 
her and Elinor, act ii., scene 1, and also act Hi., scenes 1 and 4> 

Constancy, want of, Two Gentlemen of Verona, v. 4 ; protesta- 
tion of, A Winter's Tale, iv. 3 or 4 >' v - 1 > persistent, Troilus and 
Cressida, i. 3; Troilus a name for, Troilus and Cressida, Hi. 2 ; 



INDEX TO SHAKSPERE'S WORKS. 73 

Julius Ccesar, iii. 1; vows of, Cymbeline, i. 1; of wives, Henry 
VIII., ii.2; Othello, iv. 2 ; Romeo and Juliet, iv. 1. See Love, con- 
stancy IN. 

Constantine, /. Henry VI, i. 2. 

Constantinople, Henry V., v. 2. 

Consulship, election to the, Coriolanus, ii. 2 , iii. 3. 

Consumption, of the purse, II. Henry IV., i. 2. 

Contagion, pretended fear of, Measure for Measure, i. 2. 

Contain (retain), Merchant of Venice, v. 1. 

Contemporaries, judging one's self by his, Sonnet xxii. 

Contempt, consequences of, I. Henry I V., iii. 1, " In faith, my 
lord," etc. ; epithets of, I. Henry IV., ii. 4; III. Henry VI, i. 4. 

Contemptible (contemptuous), Much Ado about Nothing, ii. 3. 

Content, commend you to your own, Comedy of Errors, i. 2 ; 
sleep of, II. Henry IV., iv. 5 ; a life of, III. Henry VI, ii. 5 ; a 
crown, III. Henry VI, iii. 1 ; lowly birth with, the best having, 
Henry VIII, ii. 3 ; the best state, without, Timon of Athens, iv. 
3 ; one's desire obtained without, Macbeth, iii. 2 ; farewell to, — with 
poverty, Othello, iii. 3 ; blessedness of, Cymbeline, i. 7. 

Contention, broke loose, II. Henry I V., i. 1. See Quarrels. 

Continent (container), Antony and Cleopatra, iv. 12, and else- 
where. 

Contriving (sojourning), Antony and Cleopatra, i. 2. 

Con tutto il core, etc. (with all ray heart, well met), Taming of 
the Shrew, i. 2. 

Convent, a, the scene of Measure for Measure, i. 5. 

Convent (summon), Measure for Measure, v. 1; Henry VIII., 
v. 1 ; Coriolanus, ii. 2 ; (to be convenient), Twelfth Night, v. i. 

Conversation, Love's Labour's Lost, v. 1 ; on a journey, Rich- 
ard II, ii. 3 ; soft parts of, Othello, iii. 3. 

Convertites (converts), As You Like It, v. 4; King John, v. 1; 
Lucrece, I. 743. 

Convey, conveyance (stealing craft), Merry Wives of Windsor, 
i. 3, and elsewhere ; (manage), King Lear, i. 2. 

Convulsions, caused by magic, The Tempest, iv. 1. 

Cookery, fine Egyptian, Antony and Cleopatra, ii. 6 ; Imogen's, 
Cymbeline, iv. 2. 

Copatain hat (sugar-loaf hat), Taming of the Shrew, v. 1. 

Cope (reward), Merchant of Venice, v. 1. 

Cophetua, King, Love's Labour's Lost, iv. 1 ; II. Henry IV., v. 
3 ; Romeo and Juliet, ii. 1. 



74 INDEX TO SHAKSPERE'S WORKS. 

Copper-spur (a prisoner), Measure for Measure, iv. 3. 

Copy (burden), of conference, Comedy of Errors, v. 1. 

Coram, used by Slender as a title of Shallow, Merry Wives of 
Windsor, i. 1, eithor for quorum, because he was a justice of quorum, 
or quoted like armigero from a phrase used in warrants, coram me 
, armigero, before me , knight. 

Coranto, AWs Well that Ends Well, ii. 3; Twelfth Night, i. 3, 
and elsewhere. A lively Italian dance. 

Cord, charity of a penny, Cymbeline, v. 4. 

Cordelia, the youngest daughter of King Lear. She refuses to 
make professions of love to her father, as her sisters do, is disinher- 
ited, and betrothed to the King of France, *. 1 ; returns with an 
army to restore her father, Hi. 7 ; iv. 2, 3, 4 / the battle, iv. 6, 7 ; v. 
1, 2 ; she is defeated and taken, v. 2 ; put to death in prison, v. 3. 

" Everything in her seems to lie beyond our view, and affects us 
in a manner which we feel rather than perceive. The character ap- 
pears to have no surface, no salient points upon which the fancy can 
readily seize ; there is little external development of intellect, less of 
passion, and still less of imagination. It is completely made out in 
the course of a few scenes. ... It is not to be comprehended at 
once or easily. . . . The impression it leaves is beautiful and deep, 
but vague. Speak of Cordelia to a critic or to a general reader, all 
agree in the beauty of the portrait, for all must feel it ; but when 
we come to details, I have heard more various and opposite opinions 
relative to her than any other of Shakspere's characters. . . . What 
is it, then, which lends to Cordelia that peculiar and individual truth 
of character, which distinguishes her from every other human being I 
It is a natural reserve, a tardiness of disposition, ' which often leaves 
the history unspoke which it intends to do ; ' a subdued quietness of 
deportment and expression, a veiled shyness thrown over all her emo- 
tions, her language, and her manner ; making the outward demon- 
stration invariably fall short of what we know to be the feeling with- 
in." — Mrs. Jameson. 

Corin, the old shepherd in As You Like It, introduced in ii. 4, 
for whom Rosalind and Celia buy his master's flock and pasture. 

Corinth, in Greece, Comedy of Errors, i. 1; v. 1; Timon of 
Athens, ii. 2. 

Corinthian, I. Henry I V., ii. 4- Slang for a wild roystering 
fellow. 

Coriolanus, a tragedy first published in 1623, and from the evi- 
dences of style supposed to have been written at a late period of the 
author's work, 1608-1610. The material was drawn from the trans- 
lation of Plutarch by Sir Thomas North, many passages and expres- 
sions being copied literally, though there are variations from the 



INDEX TO SHAKSPERE'S WORKS. 75 

story. The time of action fills about four years — 494 to 490 b. c. It 
is one of the finest of the plays, dealing with the struggles between 
the patricians and the plebeians of Rome. 

Coriolanus, Caius Marcius, surnamed, enters in the first scene 
of the drama that bears his name. His pride and disdain of the 
poor, i. 1; bravery, i. 4, 6, 8, 9 ; Hi. 2 ; his sincerity, Hi. 1 ; wounded, 
i. 5 ; fights with Aufidius, i. 8 ; refuses spoils, i. 9 ; receives his sur- 
name, i. 9 ; the people's hatred of him, ii. 1 ; his triumph and wounds, 
ii. 1; made consul, ii. 2 ; the tribunes' treachery, ii. 3; his arrest 
and sentence, Hi. 1; will not sue to the people, Hi. 2 ; goes to Au- 
fidius, iv. 4, 5; marches against Rome, iv. 6 ; Aufidius's opinion of 
him, iv. 7 ; besought to return to Rome, v. 1; he is accused, v. 6; his 
death, v. 6. 

Coriolanus is a noble and heroic character, ruined by his haughty, 
contemptuous, unbending spirit. When he is banished he goes away 
in bitterness and takes up arms against his country, but lays them 
down at the suit of his wife and mother. His relations with them 
form a relief to his hateful pride of rank and contempt for the 
people. 

Corioli, the city taken by Coriolanus from the Volscians, about 
494 b. c, act t., scene 10, from which his surname was taken ; scene 
of a part of the play. 

Cormorant, the, allusions to its voracity, Love's Labour's Lost, i. 
1; Troilus and Cressida, ii. 2 ; Coriolanus, i. 1. 

Cornelia, mother of the Gracchi, Titus Andronicus, iv. 1. 

Cornelius, a courtier in Hamlet, introduced in i. 2. 

Cornelius, a physician in Cymbeline, introduced in i. 5, to whom 
the queen applies for poisons to administer to Imogen. 

Cornwall, Duke of, Regan's husband, in King Lear, introduced 
in the first scene. He is slain by his servant when " going to put 
out the other eye of Gloucester," iv. 2. 

Coronation, a second, King John, iv. 2 ; of Bolingbroke, Rich- 
ard II., v. 2 ; procession, Henry VIII., iv. 1. 

Corpse(s), like a flower-strewn, A Winter's Tale, iv. 3 or 4. ; an 
unhandsome, i. Henry IV., i. 3; decay of, Hamlet, v. 1; the sail- 
or's superstition that it is unlucky to have one on board, Pericles, 
Hi. 1; regarding one bleeding. Richard III., i. 2. 

Correction, degrading, King Lear, ii. 2 ; difficulties of, II. 
Henry I V., iv. 1. 

Corruption, through bad company, /. Henry IV., i. 2. 

Corruption, in Vienna, Measure for Measure, v. 1; wins not 



76 INDEX TO SHAKSPERE'S WORKS. 

more than honesty, Henry VIII, Hi. 2 ; honoured by the name of 
Cassius, Julius Ccesar, iv. 3 ; rank, Hamlet, Hi. 4- See also Bribery. 

Corvinus, King of Hungary, who took Vienna in 1485, Measure 
for Measure, i. 2. 

Corydon, lament of, Passionate Pilgrim, xviii. 

Cost, fashion to avoid, Much Ado about Nothing, i. 1 ; counting 
the, II. Henry IV., i. 3. 

Costard, a clown in Love's Labour's Lost, introduced in i. 1, a 
blunderer in the use of long words in imitation of the pedantry of 
his superiors, but blundering into some shrewd sayings. 

Costumes, brought from France, Henry VIII., i. 3. 

Coted, come to the side of, Hamlet, H^2. 

Cot-quean, Romeo and Juliet, iv. 4. A man meddling with 
kitchen affairs. 

Cotsall, Merry Wives of Windsor, i. 1. See Cotswold man. 

Cotswold man, a (an athlete), 11. Henry 1 V., Hi. 2. The Cots- 
wold Hills, in Gloucestershire, were the scene of rural sports on 
Thursday in Whitsun-week, the Cotswold games. 

Counsel, to the sorrowing, Much Ado about Nothing, v. 1 ; the 
cripple, Merchant of Venice, i. 2 ; friendly, I. Henry VI, Hi. 1 ; is 
a shield, Richard III, iv. 3 ; Christian, Henry VIII, Hi. 1 ; too 
late, Julius Caisar, H. 4; two may keep, Romeo and Juliet, ii. 4. 
See also Advice. 

Counsellors, the winds truthful, As You Like It, ii. 1 ; good, 
lack no clients, Measure for Measure, i. 2 ; love's, Cymbeline, Hi. 2. 

Countenance(s), lay my, to pawn, Merry Wives of Windsor, ii. 
2 ; almost chide God for making you that, you are, As You Like It, 
iv. 1; one more in sorrow than in anger, Hamlet, i. 2. 

Counter. See Hunting. 

Counter-caster, Othello, i. 1. Allusion to the use of counters 
in casting accounts. 

Counter-check, quarrels in. See Duelling. 

Counterfeit, to die is to be a, 7. Henry IV., v. 4; of passion, 
Much Ado about Nothing, H. 3. 

Counter-gate, love to walk the (a prison-gate), Merry Wives of 
Windsor, Hi. 3. 

Counterpoints (counterpanes), Taming of the Shrew, ii. 1. 

Countries, on a fat woman, Comedy of Errors, Hi. 2. 

Country, the, manner of, at court, As You Like It, Hi. 2. 

Country, an unsettled, King John, iv. 3 ; v. 1 ; the undiscovered, 
Hamlet, Hi. 1 ; disease of a, Macbeth, v. 3. See also Patriotism. 



INDEX TO SHAKSPERE'S WORKS. 77 

Courage, boasts of, Merry Wives of Windsor, i. 1; ironical 
praise for, Merry Wives of Windsor, Hi. 1; boasted, Merchant of 
Venice, ii. 1 ; Much Ado about Nothing, i. 1 ; raounteth with occa- 
sion, King John, ii. 1 ; exhortation to, King John, v. 1 ; of feeble, 
11. Henry IV., Hi. 2; the dauphin's, Henry V., Hi. 7 ; French 
boasts of, Henry V, Hi. 7 ; iv. 2 ; prayer for, Henry V., iv. 1 ; of 
Fluellen, Henry V., iv. 7 ; of the English, Henry V, iv. 3 ; after 
loss, III. Henry VI, v. 4 ; Coriolanus, ii. 2, Hi. 1, " His nature is 
too noble," etc., Hi. 3 ; true, Timon of Athens, Hi. 5 ; sticking point 
of, Macbeth, i. 7 ; for anything material, Macbeth, Hi. 4,' boasts 
of, Macbeth, v. 3 ; Goneril's boasts of, King Lear, iv. 2. See also 
Bravery and Valour. 

Course, the holy, Julius Coesar, i. 2. 

"That day [the feast Lupercalia] there are divers noble mens 
sons, yong men, which run naked through the citie, striking in sport 
them they meete in their way, with leather thongs, hair and all on, 
to make them give place." — North's " Plutarch. 

Court, a soldier in the king's army in Henry V., who first appears 
in iv. 1. 

Court, a beauty of the, Merry Wives of Windsor, Hi. 3 ; life at, 
As You Like It, ii. 1 ; All's Well that Ends Well, i. 1 ; Hi. 2 ; man- 
ners of, As You Like It, Hi. 2 ; AIVs Well that Ends Well, ii. 2 ; 
do you take the court for Paris garden, Henry VIII, v. 3 ; holy- wa- 
ter of the (flattery), King Lear, Hi. 2 ; news of, King Lear, v. 3 ; 
folly of seeking preferment at, Cymbeline, Hi. 3. 

Court-cupboard (a sideboard), Romeo and Juliet, i. 5. 

Courtenay, Sir Edward, mentioned in Richard III, iv. 4, to- 
gether with his brother Peter, Bishop of Exeter. 

Courtesan, a, a character in the Comedy of Errors, iv. 3. 

Courtesy, advice concerning, AIVs Well that Ends Well, ii. 1; 
to an oyster-wench, Richard II, i. 4 ,' without love, Timon of 
Athens, i. 1, speech of Apemantus ; dissembling, Cymbeline, i. 2 ; 
to cover sin, Pericles, i. 1 ; of the wrong breed, Hamlet, Hi. 2. 

Courtier(s), a model for, AIVs Well that Ends Well, i. 1, 2 ; the 
curse of kings to be attended by, King John, iv. 2 ; inconstancy of, 
Richard II, iv. 1; description of a. /. Henry IV, i. 3; discord 
among, /. Henry IV., iv. 1; hypocrisy of, Cymbeline, i. 1; poor 
wretches, Cymbeline, v. 4. 

Courtney, Sir Edward, in arms, Richard III, iv. 4. 

Courtship. See Love and Lovers. 

Covent (old form for convent), Measure for Measure, iv. 3. 



78 INDEX TO SHAKSPERE'S WORKS. 

Coventry, a city in Warwickshire, and roads near, scene of the 
meeting of Bolingbroke and Norfolk in Richard II, of part of 1. 
Henry I V., and III. Henry VI, v. 1. 

Coventry, a mayor of, III Henry VI, v. 1. 

Covetous, the, Lucrece, 1. 134. 

Covetousness, skill confounded in, King John, iv. 2. 

Cow, a curst, has short horns, Much Ado about Nothing, it. 1. 

Cowardice, hated by women, Two Gentlemen of Verona, Hi. 1 ; 
of a parson, Merry Wives of Windsor, Hi. 1 ; of preferring life to 
honour, Measure for Measure, Hi. 1 ; refuge of, As You Like It, v. 
4 ; AIVs Well that Ends Well, i. 1; religious in, Twelfth Night, Hi. 
4 ; hoxes (cuts the hamstrings of) honesty, A Winter's Tale, i. 2 ; a 
calf's skin for — strong on the stronger side, King John, Hi. 1 ; in 
the noble, Richard II, i. 2 ; I. Henry IV., ii. 3, 4; iv. 3 ; of sui- 
cide, Romeo and Juliet, Hi. 3 ; the gods shame, Julius Cmsar, ii. 2; 
accusations of, King Lear, iv. 2 ; self-accusation of, Hamlet, H. 2 ; 
of procrastination, Hamlet, iv. 4 ,' Antony and Cleopatra, Hi. 9 or 
11; Cymbeline, Hi. 6; slanderous, Much Ado about Nothing, v. 1; 
Henry V., iv. 5 ; I. Henry VI, i. 5 ; infectious, III Henry VI, v. 
4; i. 4. 

Coward(s), a, that hath drunk, The Tempest, Hi. 2 ; boast of a, 
Merry Wives of Windsor, i. 1; Merchant of Venice, Hi. 2; with 
martial outside. As You Like It, i. 3 ; a high-born, Taming of the 
Shrew, induction. 2 ; description of a, AIVs Well that Ends Well, 
Hi. 6 ; iv. 3 ; the gift of a, Twelfth Night, i. 3 ; like the hare in the 
proverb, King John, ii. 1 ; three, I. Henry IV., i. 2 ; on instinct a, /. 
Henry IV., ii. 4; description of a. Henry V., Hi. 2 ; iv. 3 ; souls of 
geese, Coriolanus, i. 4, 6 ; die many times, Julius Cmsar, ii. 2 ; to 
live a, Macbeth, i. 7 ; made by tailors, King Lear, ii.2 ; milk-livered, 
King Lear, iv. 2; bred by plenty, Cymbeline, Hi. 6; father cow- 
ards, Cymbeline, iv. 2 ; brave by example, Cymbeline, v. 3. 

Cowish (cowardly). King Lear, iv. 2. 

Cowl-staff (for carrying a burden on the shoulders of two men), 
Merry Wives of Windsor, Hi. 3. 

Cowslips, The Tempest, v. 1, song ; Midsummer-NighVs Dream. 
ii. 1 ; freckled, Henry V.. v. 2 ; Cymbeline, ii. 2. 

Coxcombs. See Dandy. 

Coyness, Much Ado about Nothing, Hi. 1. 

Coystril (an army-follower), Twelfth Night, ii. 3. 

Cozened, would all the world might be, Merry Wives of Wind- 
sor, iv. 5. 



INDEX TO SHAKSPERE'S WORKS. 79 

Coziers (botchers), Twelfth Night, ii. 3. 

Crab, name of a dog, Two Gentlemen of Verona, ii. 3. 

Crab, backward like a, Hamlet, ii. 2. 

Crabs (apples), roasted, Love's Labour's Lost, v. 2 ; Midsum- 
mer-NighVs Dream, ii. 1. A favourite drink for winter nights, espe- 
cially at Christmas-time, was '• lamb's wool," made of ale with crabs 
roasted in it, and flavoured with nutmeg. 

Crack of doom, Jlacbeth, iv. 1. 

Crack (a bold boy), Coriolanus, i. 3 ; 11. Henry IV., Hi. 2. 

Crack (to load), Macbeth, i. 2. 

Cracker (a braggart), King John, ii. 1. 

Crack-hemp (gallows-bird), Taming of the Shrew, v. 1. 

Craft, richer than innocency, Measure for Measure, Hi. 2 ; de- 
nunciation of, Twelfth Night, v. 1 ; of the fox, III. Henry VI., iv, 
? ; met with craft. Hamlet, Hi. 4, end. 

Craftsmen, wooed with craft, Richard II., i. 4- 

Cramps, invoked by magic, The Tempest, iv. 1 ; v. 1. 

Crants {Krantz, garlands). Hamlet, v. 1. The only instance 
known of the use of the word in English. 

Cranmer, Thomas, Archbishop of Canterbury, character in Hen- 
ry VIII., introduced in v. 1 ; spoken of by Henry, ii. 4, end ; his 
zeal for the divorce, Hi. 2 ; a heretic, Hi. 2 ; his accusation by Gardi- 
ner and interview with the king, v. 1 ; disgraced and tried for heresy, 
and championed by the king. v. 2 ; the popular opinion of, v. 2 ; his 
prophecy concerning Elizabeth, v. 4- He was put to death in 1550, 
(aet. sixty-six) during the reign of Mary, who hated him both as a 
Protestant and for his agency in the divorce of her mother. 

Crare (or crayer, a small, clumsy ship), Cymbeline, iv. 2. 

Crassus, a gentleman mentioned in Measure for Measure, iv. 5. 

Crassus, Marcus, his death avenged, Antony and Cleopatra, 
Hi. 1. 

Crecy, battle of (Aug. 3, 1346), mentioned, Henry V., i. 2; ii. 4. 

Credent (unquestionable), Measure for Measure, iv. 4. 

Credit (credulity), Comedy of Errors, Hi. 2. 

Credit, give no, Henry V., ii. 3. 

Creditors), duns of, Timon of Athens, ii. 1, 2 ; Hi. 4 ; nature a, 
Measure for Measure, i. 1. 

Credulity, Othello, iv. 4 ,' Antony and Cleopatra, v. 5 ; Cymbe- 
line, v. 5. 

Cressets (torches), /. Henry IV, Hi. 1. 

Cressida, daughter of Calchas, heroine, of Troilus and Cressida, 
8 



80 INDEX TO SHAKSPERE'S WORKS. 

first appears in i. 2. In her, Coleridge says, Shakspere " has drawn 
the portrait of a vehement passion, that, having its true origin and 
proper cause in warmth of temperament, fastens on, rather than 
fixes to, some one object by liking and temporary preference." Cres- 
sida is introduced in i. 2 of Troilus and Cressida. Her beauty 
and wit, *. 1. She is exchanged (iv. 1, 2, 3) for Antenor and sent to 
the Greek camp; forgets Troilus and loves Diomedes. Ulysses 
divines her character, iv. 5; her inconstancy discovered by Troi- 
lus, v. 2. She is artful and coquettish, passionate but not affection- 
ate, and therefore ardent and inconstant. Ulysses says of her : 
"... Her wanton spirits look out 
At every joint and motive of her body." 

Allusions to Cressida: Cressida's uncle (Pandarus), AIVs Well 
that Ends Well, ii. 1 ; Cressida to this Troilus, Twelfth Night, Hi. 1. 

Cressy. See Crecy. 

Crest, the devil's, Measure for Measure, ii. 4 ; prouder than blue 
Iris, Troilus and Cressida, i. 3. 

Crete, the desperate sire of, I. Henry VI., iv. 6 ; fool of, III. Hen- 
ry VI., v. 6. Daedalus, who made wings for himself and his son 
Icarus. 

Crickets, merry as, I. Henry IV., ii. 4 >' cry of, ominous, Mac- 
beth, ii. 2 ; song of, at night, Oymbeline, ii. 2. 

Crime, suggestions of, The Tempest, ii. 1 ; Hi. 2, 3 ; petty, Two 
Gentlemen of Verona, iv. 1 ; unpunished, Measure for Measure, i. 4 ,' 
cherished by virtues, AIVs Well that Ends Well, iv. 3 ; plans for, As 
You Like It, i. 1 ; ii. 3 ; A Winter's Tale, i. 2 ; hints for, King John, 
Hi. 3 ; effects of, King John, Hi. 4 >' results of declaring the purpose 
to commit and the sight of means, King John, iv. 2 ; not inherited, 
Timon of Athens, v. 5 ; the mind before a, Julius Cotsar, ii. 1 ; first 
suggestion of, Macbeth, i. 3 ; for naught, Macbeth, Hi. 1 ; to se- 
cure results of crime, Macbeth, Hi. 2, 4 ,' will out, Hamlet, i. 2, end ; 
a gross, Hamlet, Hi. 4,' revelations of, King Lear, Hi. 2 ; planned, 
King Lear, iv. 6 ; accusation of, Othello, i. 3 ; time for shrift of, 
Othello, v. 2. 

Crisis, the, King John, Hi. 4 / Macbeth, iv. 2, " Things at the 
worst," etc. 

Crispian (Crispin and Crispianus), Saint, feast of, October 25th, 
Henry V., iv. 3. Saint Crispin made shoes to render himself inde- 
pendent while preaching Christianity, and is the tutelar saint of 
shoemakers. 

Critical, nothing if not, Othello, ii. 1. 



INDEX TO SHAKSPERE'S WORKS. 81 

Criticism, on men, Much Ado about Nothing, iii. 1. 

Critics, satire on, Love's Labour's Lost, iv. 2, speech of Holofer- 
nes, near the end. 

Croaker, a, Troilus and Cressida, v. 2. 

Crocodile, the mournful, II. Henry VI., Hi. 1 ; Antony's de- 
scription of the, Antony and Cleopatra, ii. 7 ; tears of the, Othello, 
iv. 1 ; eat a, Hamlet, v. 1. 

Cromer, Sir James, II. Henry VI., iv. 7. 

Cromwell, Thomas, subordinate of Wolsey in Henry VIII., in- 
troduced in Hi. 2. Wolsey's advice to him, iii. 2 ; preferments of, 
iv. 1 ; v. 1. He entered Parliament and defended Wolsey ; the king 
made him Earl of Essex, and he became chancellor and vicar-gen- 
eral. He was the most influential adviser of the king, and it was 
through his policy that the Church of England separated from the 
Papacy. After Henry's marriage with Anne of Cleves, however, 
which he brought about, he fell in favour, and was finally arrested 
on a charge of treason and beheaded in 1540. 

Crosby Place, Richard III., i. 2, 3. A house still standing in 
Bishopsgate Street, London. 

Cross, the bitter, /. Henry IV., i. 1 ; you Pilates have delivered 
me to my, Richard II., iv. 1. 

Crosses, wayside, Merchant of Venice, v. 1 ; (coins which had 
crosses on the back), Love's Labour's Lost, i. 2. 

Cross-row, the alphabet in the primer, called so because headed 
by a cross, Richard III., i. 1. 

Cross-ways, suicides buried at, where stakes were driven through 
the bodies, Midsummer-Night's Dream, Hi. 2. 

Crow(s), singing of the, Merchant of Venice, v. 1 ; over a battle^ 
field, He ry V., iv. 2 ; ominous, Julius Ccesar, v. 1; Macbeth, iii. 2; 
Troilus and Cressida, iv. 2 ; the treble-dated, the Phoenix and the 
Turtle. 

Crow-flowers, Hamlet, iv. 7. Said to have been the ragged 
robin. 

Crow-keeper, Romeo and Juliet, i. 4; King Lear, iv. 6. A 
man or boy who drives crows from fields, or a scarecrow. 

Crowd, a, foolishness of, Measure for Measure, i. 4 ; in London, 
Henry VIII., v. 4. 

Crown, the imperial, A Winter's Tale, iv. 3 or 4 ; cares go with 
— like a well — resigning a, Richard II., iv. 1 ; uneasy lies the head 
that wears a, II. Henry I V., Hi. 1 ; an ill-gotten — weight of a — the 
prince takes the, II. Henry I V., iv. 4 ; would the, were red-hot steel, 



82 INDEX TO SHAKSPERE'S WORKS. 

Richard III., iv. 1. This may be an allusion to the punishment of 
a burning crown for regicides and usurpers. Sweet to wear, III. 
Henry VI., i. 2 ; for York, III Henry VI, i. 4 ; of content, III. 
Henry VI, Hi. 1 ; ambition for, 7/7. Henry VI, Hi. 2; offered, 
Julius Ccesar, i. 2 ; Hi. 2 ; might change the nature, Julius Ccesar, 
ii. 1 ; gift of a, King Lear, i. 1, 4; a thousand flatterers in a, Rich- 
ard II, ii. 1 ; Hi. 2, 3 ; a fruitless, Macbeth, Hi. 1. v 

Crowner (coroner), Twelfth Night, i. 5 ; Hamlet, v. 1. 

Crucifixion of Christ, the, 7. Henry IV., i. 1. 

Cruels (cruelties), King Lear, Hi. 7. 

Cruelty, Merchant of Venice, iv. 1, " A stony adversary," etc. ; 
prayer for, Macbeth, i. 5 ; Hamlet, Hi. 2, 4; in a woman, 777. Hen- 
ry VI, i. 4, " tiger's heart," etc. ; inhuman, King Lear, Hi. 7, 
" Because I would not see," etc. ; toward Lear, iv. 7 ; to the falling, 
Henry VIII, v. 2; Othello, v. 2. 

Crusades, the, Richard II, iv. 1; I. Henry IV., i. 1; II Henry 
IV., Hi. 1 ; iv. 4- 

Crusadoes (Portuguese coins of gold stamped with a cross), 
Othello, Hi. 4> 

Cry, They come, Macbeth, v. 5 ; you and your, Coriolanus. iv. 6 ; 
of players, a, Hamlet, Hi. 2. A cry was a pack of hounds ; aim (give 
encouragement), Merry Wives of Windsor, Hi. 2. 

Cubiculo (chamber, lodging). Twelfth Night, Hi. 2. 

Cuckold(s), Merry Wives of Windsor, ii. 2 ; Hi. 5; v. 5 ; Meas- 
ure for Measure, v. 1 ; Much Ado about Nothing, ii. 1 ; Merchant 
of Venice, v. 1; All's Well that Ends Well, i. 3 ; A Winter's Tale, 
i.2; Coriolanus, iv. 5 ; Antony and Cleopatra, i. 2 ; Troilus and 
Cressida, iv. 1 ; Cymbeline, ii. 4 ; Othello, Hi. 3 ; iv. 3 ; calamity 
the only true, Twelfth Night, i. 5. 

Cuckoo, the, Merry Wives of Windsor, ii. 1 ; Love's Labour's 
Lost, v. 2, song ; voice of, Midsummer- Night' s Dream, Hi. 1 ; Mer- 
chant of Venice, v. 1 ; in June, 7. Henry IV., Hi. 2 ; in the sparrow's 
nest, 7. Henry I V., v. 1 ; Antony and Cleopatra, ii. 6 ; King Lear, 
i. 4 ; sings in kind, All's Well that Ends Well, H. 1. 

Cuckoo-buds, Love's Labour's Lost, v. 2. Variously supposed 
to be the cowslip, crowfoot, and pile- wort. 

Cuckoo-flower, King Lear, iv. 4. Probably ragged robin. 

Cucullus non facit monachum (the cowl does not make the 
monk), Measure for Measure, v. 1 ; Twelfth Night, i. 5. 

Cullion, -ly (scullion), Taming of the Shrew, iv. 2 ; King Lear t 
ii. 2 ; Henry V., Hi. 2.; II Henry VI, i. 3. 



INDEX TO SHAKSPERE'S WORKS. 83 

Cum privilegio, etc.. the words of an old grant of privilege 
for printing a book with the sole right of putting to press, Taming 
of the Shrew, iv. 4. 

Cunning, bashful, The Tempest, iii. 1 ; skilled, Taming of the 
Shrew, i. 1; ii. 1 ; to be strange, Romeo and Juliet, ii. #; plaited, 
King Lear, i. 1; errs in ignorance, not in, Othello, iii. 3. 

Cupid, introduced as a character in Timon of Athens, i. 2. 

Cupid, foiled, The Tempest, iv. 1 ; Merry Wives of Windsor, v. 
5; challenged, Much Ado about Nothing, i. 1; ii. 1; Hi. 1, 2; 
Love's Labour's Lost, i. 2 ; ii. 1 ; iii. 1; iv. 3 ; v. 2 ; Midsummer- 
Night's Dream, i. 1 ; ii. 1, 2 ; iii. 2 ; Merchant of Venice, ii. 6. 9 ; 
As You Like It, iv. 1, end ; AWs Well that Ends Well, i. 1 ; iii. 2 ; 
Troilus and Cressida, Hi. 2, 3 ; Romeo and Juliet, i. 1, 4; ii. 1, 5 ; 
Othello, i. 3 ; King Lear, iv. 6 ; his brand in a boiling spring, Son- 
nets cliii., cliv. 

Cur(s), small, I. Henry FZ, iii. 1 ; bark when their fellows do, 
Henry VIII., ii. 4 >' that like nor peace nor war, Coriolanus, i. 1 ; 
Casca like a, Julius Cmsar, v. 1 ; Ajax and Achilles, Troilus and 
Cressida, v. 4> 

Curan, a courtier in King Lear, introduced in ii. 1. 

Curds and cream, queen of, A Winter's Tale, iv. 3 or 4. 

Curfew, the solemn, The Tempest, v. 1 ; Measure for Measure, 
iv. 2 ; Romeo and Juliet, iv. 4 — a slip for matin, probably. 

Curio, a gentleman attending on the duke in Twelfth Night, in- 
troduced in the first scene, an unimportant character. 

Curiosity, woman's, Two Gentlemen of Verona, i. 2 ; As You 
Like It, iii. 2 ; (exact scrutiny), King Lear, i. 1 ; (fastidiousness), 
Timon of Athens, iv. 3 ; (fine distinctions), King Lear, i. 2. 

Current(s), course of an unhindered, Two Gentlemen of Verona, 
ii. 7 ; corrupted, of this world, Hamlet, iii. 3 ; of the sea, Othello, 
iii. 3. 

Curses, on Prospero, The Tempest, ii. 2 ; of the church, King 
John, Hi. 1, 3 ; for murder, King John, iv. 3 ; on Judases, Richard 
II., iii. 2 ; of Suffolk— recoil of, II. Henry VI, iii. 2 ; v. 1 ; Anne's, 
Richard III, i. 2 ; Margaret's, Richard III, i. 3 ; iii. 3, 4; iv. 1; 
teaching of, Richard III., iv. 4; of a mother on her son, Richard 
III, iv. 4 ; York's on Margaret, Richard III., i. 3 ; of Thersites,. 
Troilus and Cressida, v. 1 ; on Romans, Coriolanus, i. 4 ; iv. 1, 2 ; 
Timon of Athens, iii. 6 ; iv. 1, 3 ; Julius Cmsar, iii. 1 ; not loud but 
deep, Macbeth, v. 2 ; a father's, King Lear, i. 1, 4; ii. 4; on a liar, 
Othello, v. 2 ; Lucrece,l. 967. See also Maledictions. 



84 INDEX TO SHAKSPERE'S WORKS. 

Curst (cross, scolding, ill-tempered), Two Gentlemen of Verona, 
Hi. 1; Taming of the Shrew, i. 1, 2 ; Richard III., i. 2 ; and oth- 
ers. 

Curtal, name of a horse, AIVs Well that Ends Well, ii. 3. 

Curtal dog (curtail), a, Merry Wives of Windsor, ii. 1. 

Curtis, one of the servants of Petruchio in the Taming of the 
Shrew, introduced in iv. 1. 

Curtle-axe (cutlass), As You Like It, i. 3. 

Custard, leaped into the, AIVs Well that Ends Well, ii. 5. 
An allusion to the custom of having a clown leap into a custard at a 
feast. 

Custard coffin (the crust of a pie was called a coffin), Taming 
of the Shrew, iv. 2. 

Custom(s), if obeyed in all things, Coriolanus, ii. 3 ; one honoured 
in the breach, Hamlet, i. 4 ; that monster, Hamlet, Hi. 4 ,' makes in- 
sensible, Hamlet, v. 1 ; nice, courtesy to kings, Hamlet, v. 2 ; the 
plague of, King Lear, i. 2; new, Henry VI1L, i. 3. See Habit, 
Fashion. 

Cut, the unkindest, Julius Caisar, Hi. 2. 

Cut, Twelfth Night, ii. 3. A name applied to a horse. 

Cut and long tail (short- and long-tailed dogs — that is, people 
of all ranks), Merry Wives of Windsor, Hi. 4. 

Cutpurse, requisites for a, A Winter's Tale, iv. 3 or 4> 

Cuttle, play the saucy, II. Henry IV., ii. 4- Perhaps an allu- 
sion to the cuttle-fish, which hides itself by throwing out a black 
juice from its mouth. 

Cyclops, Titus Andronicus, iv. 3 ; Hamlet, ii. 2. 

Cydnus River, the, in Cilicia, Antony and Cleopatra, ii. 2 ; v. 
2 ; Cymbeline, ii. 4> 

Cymbals, Coriolanus, v. 4. 

Cymbeline, a play classed with the tragedies, though not tragic 
in its ending. It was first printed in 1623, and is supposed to have 
been written in 1609 or 1610. The historic material for it, that 
regarding the Roman tribute, is taken from Holinshed. The story 
of Posthumus and his wife is from one of the novels of the "De- 
cameron." The time, as nearly as can be determined of a play that 
utterly disregards consistency in time as well as in other regards, is 
shortly before the Christian era. The vision or dream of Posthumus, 
in iv. 4, is supposed to be by some other hand than Shakspere's. 
Hazlitt calls Cymbeline " one of the most delightful of Shakspere's 
historical plays," and Swinburne says of it, " I may say I have always 



INDEX TO SHAKSPERE'S WORKS. 85 

loved this one above all other children of Shakspere." The greatest 
charm o£ the play is in the character of Imogen. 

Cymbeline, King of Britain, first appears in the drama that 
bears his name, toward the close of the first scene. He is weak, and 
entirely under the influence of his queen. 

Cynic(s), Timen and Apemantus in Timon of Athens ; curses of 
a, Timon of Athens, iv. 1, 3 ; quarrel of, Timon of Athens, iv. 3 ; 
epitaph on a, Timon of Athens, v. 4 ; vile rhymes of a, Julius Ccesar, 
iv. 3. 

Cynicism, of Cassius, Julius Ccesar, i. 2, " I do not know the 
man," etc. ; Sonnet Ixvi. 

Cynthia, Venus and Adonis. I. 727. The moon, or Diana. 

Cypress, let me be laid in, Twelfth Night, ii. 4> Coffins were 
made of cypress-wood. 

Cyprus, an island in the Mediterranean, scene of the last four 
acts of Othello. 

Cyprus (a veil of crape). Twelfth Night, Hi. 1. 

Cytherea (Venus), Taming of the Shrew, induction, 2 ; A Win- 
ter's Tale, iv. 3 or 4 >' Cymbeline, ii. 2 ; Passionate Pilgrim, iv., vi. t 
ix., xi. 

Daff (doff, put off), Much Ado about Nothing, v. 1 ; Othello, iv. 2. 

Daffodils, A Winter's Tale, iv. 3, 4. 

Dagg"er(s), a phantom, Macbeth, ii. 1 ; Hi. 4 ,' in thoughts, II. 
Henry IV., iv. 4; speak, Hamlet, lii. 2 ; worn in the mouth, Cym- 
beline, iv. 2. 

Dagonet, Sir, King Arthur's jester, whom he made a knight, 
II. Henry IV., Hi. 2. 

Daintry (Daventry in Northamptonshire), III. Henry VI, v. 1. 

Daisies, pied, Love's Labour's Lost, v. 2. 

Dalliance, The Tempest, iv. 1 ; the primrose path of, Hamlet, 
i;3; in time of action, I. Henry IV., v. 2 ; Troilus and Cressida, 
Hi. 3 ; Othello, i. 3. 

Dalmatians, Cymbeline, Hi. 1, 7. 

Damascus, irt Syria, I. Henry VI, i. 3. Damascus was said to 
be on the spot where Cain killed Abel. 

Damnation, Merry Wives of Windsor, Hi. 2 ; Much Ado about 
Nothing, iv. 1 ; King John, iv. 2 ; Othello, Hi. 3; a more delicate 
way than by drowning, Othello, i. 3 ; ancient, Romeo and Juliet, Hi. 
3 ; by not being at court, ^.5 You Like It, Hi. 2 ; no warrant can 
defend from, Richard III, i. 4 ; of his taking off, Macbeth, i. 7. 



86 INDEX TO SHAKSPERE'S WORKS. 

' Damned) torment for the. The Tempest, i. 2. 

Damon, Hamlet, Hi. 2. Applied to Horatio. 

Dances, Bergomask, Midsummer - Night's Dream, v. 1. See 
Brawl, Canary, Cinque-Pace, Coranto, Hay, Jig, Lavolta, Meas- 
ure, Pa van, Roundel, Sword-Dance, Trip-and-Go, Upspring. 

Dances, of shepherds, A Winter's Tale, iv. 3 or 4. 

Dancing, Twelfth Niyht, i. 3 ; A Winter's Tale, iv. 3 or 4 ; Ro- 
meo and Juliet, i. 5 ; Venus and Adonis, I. 146. 

Dandy(ies), a. Love's Labour's Lost, i. 1 ; iv. 3 ; v. 2, " This is 
he that," etc. ; Hotspur's description of a, I. Henry IV., i. 3, " He 
was perfumed," etc., Hamlet, v. 2 ; Othello, v. 2. 

Danes, drinking habits of the, Hamlet, i. 4 ; Othello, ii. 3. 

Danger, makes unscrupulous, King John, Hi. 4 ,' Richard II., 
ii. 1 ; the nettle, I. Henry IV., ii. 3 ; of the great, Richard III., i. 
3, " They that stand high," etc. ; subtly taints, Troilus and Cressida, 
hi. 3 ; more dangerous than, Julius Ccesar, ii. 2 ; in, of the scotched 
snake, Macbeth, Hi. 2 ; to be too busy is some, Hamlet, Hi. 4; de- 
viseth shifts, Venus and Adonis, I. 690 ; lurking, I. Henry VI., v. 3 ; 
II. Henry VI., Hi. 1 ; of pride when in power, Troilus and Cressida, 
i. 3. See Omens. 

Daniel, a, come to judgment, Merchant of Venice, iv. 1. 

Danskers (Danes), Hamlet, ii. 1. 

Dante, imagery reminding of, Measure for Measure, Hi. 1, " To 
bathe in fiery floods," etc. 

Daphne, the nymph that was changed into a laurel-tree when 
flying from Apollo, Taming of the Shrew, induction, 2 ; Midsum- 
mer-Night's Dream, ii. 1. 

Dardan (Troy, Trojan), Lucrece, 1. 1436 ; Dardanian wives, Mer- 
chant of Venice, Hi. 2. 

Dardanius, a servant of Brutus in Julius Co3sar. appears in 
v. 5. 

Daring, becoming a man, Macbeth, i. 7 ; of an adventurous 
spirit, 7. Henry IV., 1. 3 ; damnation, Hamlet, iv. 5. 

Darius, King of Persia, I. Henry VI, i. 5. 

Darkness, makes hearing more acute, Midsummer - Night's 
Dream, Hi. 2. 

Darlings, curled, Othello, i. 2. 

Darnel, I. Henry VI, Hi. 2 ; King Lear, iv. 4 ; Henry V., v. 2. 

Darraign (arrange), II. Henry VI, ii. 2. 

Dartford, a town in Kent, seventeen miles from London, //. 
Henry VI., v. 1. 



INDEX TO SHAKSPERE'S WORKS. 87 

Datchet-mead (bleaching-place), Merry Wives of Windsor, 
Hi. 3. Datchet is a hamlet adjoining Windsor. 

Dates, pies of, All's Well that Ends Well, i. 1 ; Troilus and 
Cressida, i. 2. 

Dates at which the plays were written and published. See Or- 
der and Dates. 

Daub (keep up the pretence), King Lear, iv. 1. 

Daughter(s), still harping on my, Hamlet, ii. 2 ; unkind, King 
Lear, ii. 4 ; Hi. 4 ; trust not, Othello, i. 1. 

Dauphin, the (afterward Louis VIII.), treachery of, King John, 
v. 4. See Melun. 

Dauphin, the, crowned Charles VII., I. Henry VI., i. 1. 

David's (St.) Day (March 1st), the leek worn upon, Henry V, 
iv. 7. See Leek. 

Davy, servant of Justice Shallow in II. Henry IV., first appears 
in v. 1. 

Dawn, Much Ado about Nothing, v. 3. " The gentle day," etc. 
See Morning. 

Day, the time of, I. Henry IV., i. 2 ; the tell-tale, II. Henry VI., 
iv. 1 ; Lucrece, I. 806 ; prying, Lucrece, I. 1088 ; jocund, Romeo and 
Juliet, Hi. 5 ; stirring passage of the, Comedy of Errors, Hi. 1 ; who 
dares not stir by, King John, i. 1. 

Day(s), better, As You Like It, ii. 7 ; Timon of Athens, iv. 2 ; 
an unseasonable, All's Well that Ends Well, v. 3; of reconciliation 
— of ill omen, King John, Hi. 1 ; evil, Sonnets Ixvi. to Ixviii. ; never 
such a, since Caesar, II. Henry IV., i. 1. 

Day-woman (dairy), Love's Labour's Lost, i. 2. Day is sup- 
posed to be an old word for milk. 

Dead, the, appreciation of, AWs Well that Ends Well, v. 3, 
" well excused," etc. ; spirits of, A Winter's Tale, Hi. 3 ; indignities 
to, I. Henry IV., i. 1 ; of this year, quit for the next, II. Henry IV., 
Hi. 2 ; eulogy on, I. Henry VI., i. 1 ; appeasing of, by vengeance, 
Titus Andronicus, i. 1 or 2 ; flowers for the, Henry VIII., iv. 2 ; 
Romeo and Juliet, iv. 5 ; v. 3 ; Hamlet, iv. 5 ; v. 1 ; Cymbeline, iv. 
2 ; Pericles, iv. 1 ; arms hung over the, Hamlet, iv. 5 ; Titus An- 
dronicus, i. 1 ; borne with uncovered face, Romeo and Juliet, iv. 1 ; 
Hamlet, iv. 5, song ; among the, Romeo and Juliet, Hi. 5 ; base uses 
of, Hamlet, v. 1 ; sorrow for, Sonnets xxx., xxxi., Ixxi. ; hair of, Son- 
net Ixviii. ; praise of. Sonnet Ixxii. 

Dead men's fingers, a plant, Hamlet, iv. 7. Supposed to be 
the purple orchis, spoken of in the same sentence as long purples. 



88 INDEX TO SHAKSPERE'S WORKS. 

Deafness, a tale to cure, The Tempest, i. 2. 

Dear, so bloody and so, Twelfth Night, v. i. Dear and dearth 
from dere, to hurt. 

Dearn (lonely), Pericles, Hi., prologue. 

Death, preparation for, Measure for Measure, ii. 2 ; better than 
dishonour, Measure for Measure, ii. 4 ; the fool of. see Life ; terrors 
of, Measure for Measure, Hi. 1 ; a great disguiser, Measure for Meas- 
ure, iv. 2 ; life that is past fearing, Measure for Measure, v. 1 ; the 
end of woes, Comedy of Errors, i. 1 ; penalty of, for traffic between 
cities, Comedy of Errors, i. 1 ; effect of, Much Ado about Nothing, 
iv. 1; good inspirations at, Merchant of Venice, i. 2 ; sought, As 
You Like It, i. 2 ; conceit nearer to it than the powers, As You Like 
It, ii. 6 ; and sleep, Taming of the Shrew, induction, 1 ; tests of, 
A Winter's Tale, Hi. 2 ; feasts by quarrels of kings, King John, ii. 
1 or 2 ; order for Arthur's. King John, Hi. 3 ; welcome, King John, 
Hi. 4 ,' effect of report of Arthur's, King John, iv. 2 ; no life achieved 
by others', King John, iv. 4; truth in, King John, v. 4; besieging 
the mind, King John, v. 7 ; value of words at, Richard II., ii. 1; 
prophecy before, Richard II, H. 1; I. Henry IV., v. 4; nothing our 
own but — an antic throned in the crown, Richard II, Hi. 2 ; owed 
to God, 7". Henry IV., v. 1; counterfeited, I. Henry IV., v. 4; allu- 
sion to the notion that it takes place at ebb-tide, Henry V., ii. 3 ; 
friendship in, Henry V., iv. 6 ; the umpire of men's miseries, I.Hen- 
ry VI, ii. 5 ; like the removal of a court, /. Henry VI, ii. 5 ; the 
end of misery, I. Henry VI, Hi. 2 ; thou antic (harlequin), I Henry 
VI, iv. 7 ; signs of a violent, II. Henry VI, Hi. 2 ; fear of, II. 
Henry VI, Hi. 3 ; coming of, III. Henry VI, i. 4, " The sands are 
numbered," etc. ; summons to, Troilus and Cressida, iv. 4 ,' defiance 
of, Coriolan • s, Hi. 2, 3 ; apparent, Romeo and Juliet, iv. 5 ; v. 3 ; 
lamentation for, Romeo and Juliet, iv. 5 ; merriment at, Romeo and 
Juliet, v. 3 ; beauty in, Romeo and Juliet, v. 3 ; and honour, Julius 
Caisar, i. 2 ; fear of, Julius Ccesar, ii. 2 ; Hi. 1 ; lament for, Julius 
Ccesar, Hi. 1 ; time of, the only anxiety, Julius Caisar, Hi. 1 ; a be- 
coming, Macbeth, i. 4 ; omens of, Macbeth, ii. 3, see also Omens ; 
peace of, Macbeth, Hi. 2 ; in life, Macbeth, iv. 3, "The quean, etc.; 
dusty, Macbeth, v. 5 ; a soldier's, Macbeth, v. 7 ; common, Hamlet, 
i. 2 ; without absolution, Hamlet, i. 5 ; what may come after, Ham- 
let, Hi. 1 ; proud — a fell sergeant — why should, be shunned, Hamlet, 
v. 2, " Not a whit," etc. ; men must await their, King Lear, v. 2 ; suf- 
fered hourly, King Lear, v. 3 ; effect of, Antony and Cleopatra, i. 
2 ; lament for, Antony and Cleopatra, iv., end ; study for an easy, 



INDEX TO SHAKSPERE'S WORKS. 89 

Antony and Cleopatra, v. 2 ; end of fear, Cymbeline, iv. 2, song ; 
sought, Cymbeline, v. 3 ; the sure physician — the after-inquiry, Cym- 
beline, v. 4; like a mirror, Pericles, i. 1; apparent, Pericles, Hi. 2; 
apostrophe to, Venus and Adonis, lines 931, 997 ; preferred to dishon- 
our, Lucrece, I. 1723 ; of the childless, Sonnets i., Hi., iv., vi., x., xii., 
xiii., xiv. ; defeated by verse, Sonnets xviii., cvii. ; the churl, Sonnet 
xxxii.; longing for, Sonnet Ixvi. ; knell of, II. Henry IV., i. 1; Son- 
net Ixxi. ; Venus and Adonis, I. 701 ; a fell arrest. Sonnet Ixxvi. ; 
feeds on men, Sonnet cxlvi. ; of a youth, Passionate Pilgrim, x. 

Deaths, pangs of three several, Measure for Measure, in. 5. 

Deborah, the sword of, i". Henry VI, i. 2. 

Deboshed, in many passages for debauched. 

Debts, paid by death, Tempest, Hi. 2 ; desperate, Timon of 
Athens, Hi. J^. 

Decay, this muddy vesture of. Merchant of Venice, v. 1. 

Deceit, justified, Measure for Measure, Hi. 1; iv. 1; of men, 
Much Ado about Nothing, H. 3, song ; under smiles, Merchant of 
Venice, i. 3 ; Hamlet, i. 5 ; of a traitor, II Henry VI, Hi. 1 ; steals 
gentle shapes, Richard III, H. 2 ; in a gorgeous palace, Romeo and 
Juliet, Hi. 2 ; in friendship, Julius Cmsar, iv. 2 ; in prophecy, Mac- 
beth, v. 7, "And be these juggling," etc.; commended, Othello, i. 1; 
Macbeth, i. 5, 7 ; in a face, Lucrece, I. 1506 Midsummer-Night's 
Dream, Hi. 2 ; A Winter's Tale, i. 2; II Henry VI, Hi. 2 ; III 
Henry VI, Hi. 2. 

Decimation, and a tithed death, Timon of Athens, v. 5. 

Decision. See Promptness. 

Decius Brutus, one of the conspirators in Julius Ccesar, first 
appears in** i. 2. His real name was Deciinus Junius Brutus Alba- 
nus. Shakspere took this form of the name from his English Plu- 
tarch. 

Decline (incline), Comedy of Errors, Hi. 2. 

Deed(s), ill, double, Comedy of Errors, Hi. 2 ; high and worthy, 
Much Ado about Nothing, v. 1 ; light of a good, Merchant of Ven- 
ice, v. 1; dying tongueless, A Winter 's 7 ale, i. 2; without a name, 
Macbeth, iv. 1 ; foul, will rise. Hamlet, i. 2 ; must go with the pur- 
pose, Macbeth, iv. 1. 

Deep- vow, a prisoner, Measure for Measure, iv. 3. 

Deer, killed my. Merry Wives of Windsor, i. 1 ; see Shallow ; 
the killing of. As You Like It, ii. 1 ; let the stricken, go weep, Ham- 
let, Hi. 2 ; the frightened, Lucrece, I. 1149 ; England's timorous, I. 
Henry VI, iv. 2. See also Hunting. 



90 INDEX TO SHAKSPERE'S WORKS. 

Defeat, everlasting shame, Henry V., iv. 5. 

Defeatures (disfigurement), Comedy of Errors, ii. 1 ; v. 1. 

Defect(s), influence of one, Hamlet, i. 4 ; sometimes prove com- 
modities (advantages), King Lear, iv. 1 ; made perfections, Antony 
and Cleopatra, ii. 2. 

Defence, in cases of, weigh the enemy more mighty than he 
seems, Henry V., ii. 4- 

Defiance (refusal), Measure for Measure, Hi. 1. 

Defiance, King John, i. 1; iv. 3 ; v. 2 ; Richard II, i. 1; iv. 
1; Henry V., i. 2 ; ii. 4; Hi. 6 ; iv. 3 ; Julius Co&sar, iv. 3 ; v. 1; 
The Tempest, Hi. 3 ; Much Ado about Nothing, v. 1 ; I. Henry IV., 
i. 3 ; iv. 1; II. Henry IV., v. 2 ; Coriolanus, Hi. 3 ; Macbeth, Hi. 4; 
Troilus and Cress Ida, iv. 1. 

Deformed, the. in shape and manners, Tempest, v. 1 ; talk of 
one, Much Ado about Nothing, v. 1 ; only ambition left for the, III. 
Henry VI., Hi. 2 ; called stigmatics, II. Henry VI., v. 1 ; III. Hen- 
ry VI., ii. 2. 

Deformity, Richard III., i. 1-3 ; Hi. 1 ; King Lear, iv. 2. 

Defuse (disorder), King Lear, i. 4. 

Degeneracy, of descendants of the great, Taming of the Shrew, 
induction, 2 ; Julius Cmsar, i. 3 ; Coriolanus, Hi. 1 ; I. Henry IV., 
i. 3 ; of the world, Measure for Measure, Hi. 2 ; Richard III., i. 3. 

Degree, observance of, Troilus and Cressida, i. 3. 

Deign (to honour). Two Gentlemen of Verona, i. 1. 

Deiphobus, son of Priam, character in Troilus and Cressida, in- 
troduced in iv. 1. 

Deity, used in the sense of an attribute of deity, ubiquity, 
Twelfth Night, v. 1, " Nor can there be that deity," etc. 

Delabreth, Charles, Constable of France. See Constable. 

De la Pole. See Suffolk. 

Delations, close (secret accusations % Othello, Hi. 3. 

Delay(s), danger of, All's Well that Ends Well, v. 3, " Let's take 
the instant by the forward top," etc. : I. Henry IV., Hi. 2, end ; I. 
Henry VI., Hi. 2 ; leads to beggary, Richard III., iv. 3 ; take swift 
advantage of the hours, Richard III., iv. 1 ; Troilus and Cressida, 
Hi. 3 ; Timon of Athens, v. 1 ; Julius Caisar, iv. 3, " We must take 
the current," etc. ; Hamlet, iv. 7, " That we would do," etc. ; Henry 
VIII, iv. 2 ; Romeo and Juliet, i. 4 ; the flighty purpose never is 
o'ertook unless the deed go with it, Macbeth, iv. 1. 

Deliberation. See Delay. 

Delighted spirit, the, Measure for Measure, Hi. 1. 



INDEX TO SHAKSPERE'S WORKS. 91 

" A difficult word to explain in this connection. It is variously 
understood as referring to the previous condition of the spirit, as 
being used in the sense of delightful, as in Othello, i. 3, ' If virtue no 
delighted beauty lack ' ; and as meaning de-lighted, deprived of light, 
a manner of using the prefix not uncommon among writers of Shak- 
spere's time.'' — Hudson. 

Delights, the vainest, Love's Labour's Lost, i. 1 ; violent, Ro- 
meo and Juliet, ii. 6. 

Delirium, King John, v. 7. 

Delphos, oracle at, consulted, A Winter's Tale, ii. 1 ; Hi. 1, 2. 
It is spoken of as an island in Hi. 1, as it is in the story on which the 
play was founded. 

Delusion, Hamlet, Hi. 4 ; Cymbeline, iv. 2. 

Demerits (merits), Coriolanus, i. 1. 

Demetrius, character in Midsummer- JVight's Dream, introduced 
in *. 1 ; a lover of Hermia at first, afterward of Helena. 

Demetrius, son of Tamora in Titus Andronicus ; is introduced 
in *. 1 or 2 as a prisoner of the Romans, and is set free by the em- 
peror ; plots against Lavinia, ii. 1, 3, 4 >' is killed, iv. 2. Like his 
brother, he is pure brute. 

Demetrius, character in Antony and Cleopatra; introduced in 
*. 1, a friend of Antony. 

Demon, thy, thy spirit which keeps thee, Antony and Cleopatra, 
ii. 3. Demon here is used in the sense of guardian angel. 

Demureness, in boys, II. Henry IV., iv. 3. 

Denayed (denied), II. Henry VI, i. 3. 

Denis, Saint, patron of France, Henry V., v. 2 ; I. Henry VI., Hi. 2. 

Denmark, something rotten in, Hamlet, i. 4. 

Dennis, one of Oliver's servants in As You Like It, i. 1. 

Denny, Sir Anthony, character in Henry VIII. ; introduced in 
v. 1. 

Denny, Lady, the name sometimes given as that of the old lady, 
friend to Anne Boleyn, in Henry VIII. 

Denunciation, of Leontes by Paulina, A Winter's Tale, ii. 3 ; 
of Perdita and Florizel, iv. 3 or 4. 

Denunciation (proclamation), Measure for Measure, i. 3* 

Depart (rather part with), Love's Labour's Lost, ii. 1. 

Deputy, power entrusted to a, Measure for Measure, i. 1 ; state 
of a, M rchant of Venice, v. 1. 

Derby, Earl of. See Stanley, Thomas, Lord. 

Dercetas, character in Antony and Cleopatra ; introduced in iv, 
14, friend of Antony ; his desertion, iv. 12 or 14. 



92 INDEX TO SHAKSPERE'S WORKS. 

Derivative (inheritance), A Winter's Tale, Hi. 2. 

Descant (part added to a song), Two Gentlemen of Verona, i. 2. 

Descent, poor, hated by women, Two Gentlemen of Verona, iii. 2. 

Desdemona, wife of Othello, first appears in i. 3 ; described, ii. 
1 ; the story of her marriage, Hi. 1 ; she intercedes for Cassio, iii. 3, 
4; is murdered, v. 2. 

" In Desdemona we cannot but feel that the slightest manifesta- 
tion of intellectual power or active will would have injured the dra- 
matic effect. She is a victim consecrated from the first — ' an offer- 
ing without blemish,' alone worthy of the grand final sacrifice ; all 
harmony, all grace, all purity, all tenderness, all truth ! " — Mrs. Jame- 
son. See also Imogen. 

Desert, an inaccessible, As You Like It, ii. 7. 

Desert, your, speaks loud, Measure for Measure, v. 1 ; used after 
one's, Hamlet, ii. 2. 

Desertion, remorse for, Antony and Cleopatra, iv. 6, 9 ; in mis- 
fortune, Antony and Cleopatra, iv. 10 or 12. 

Desire, gratified, without content, Macbeth, iii. 2 ; Cymbeline, 
L 7. 

Desolation, King John, ii. 2 ; Richard II., i. 2 ; Henry VIII, 
iii. 1 ; Cymbeline, iii. 3. 

Despair, King John, iii. 4 ; iv. 3 ; Hamlet, i. 2, " That this too, 
too solid flesh would melt," etc. ; trifling with, to cure, King Lear, 
iv. 6 ; Cymbeline, i. 1 ; Antony and Cleopatra, Hi., end ; iv. 10 or 
12, 12 or 14 ; Comedy of Errors, v. 1 ; Richard II, ii. 2 ; Richard 
III,v.3; Titus Andronicus, iii. 1; Macbeth, v. 5; Merchant of 
Venice, iii. 2. 

Desperate (magic) studies, As You Like It, v. 4> 

Desperation, Macbeth, iii. 1; v. 7 ; III. Henry VI, i. 4 ; King 
John, iii. 4 i Romeo and Juliet, v. 3 ; Othello, v. 2 ; Julius Cmsar, v. 
5 ; Antony and Cleopatra, iii. 9 ; iv. 13. 

Despondency, Richard II, iii. 2 ; Richard III, v. 3 ; Timon 
of Athens, iv. 3. 

Destiny, The Tempest, iii. 3 ; Richard III, iv. 4 ; Othello, iii. 
3 ; hanging and wiving go by, Merchant of Venice, ii. 9. 

Determination. See Resolution. 

Detraction. See Calumny, Slander. 

Detractions, they that hear their, Much Ado about Nothing, 
ii. 3. 

Deucalion, A Winter's Tale, iv. 3 or 4. The Noah of Greek 
mythology. 

See Oxford. 



INDEX TO SHAKSPERE'S WORKS. 93 

Devil, the, will not have me damned, Merry Wives of Windsor, 
v. 5 ; a cunning enemy, Measure for Measure, ii. 2; write good 
angel on his horn (that is, give a false seeming), Measure for Meas- 
ure, ii. 4 ; crest of, Measure for Measure, ii. 4 > seek redemption of 
the, Measure for Measure, v. 1 ; his burning throne, Measure for 
Measure, v. 1 ; a long spoon to eat with the, Comedy of Errors, iv. 
3 ; can cite Scripture, Merchant of Venice, i. 3 ; in the likeness of 
a Jew, Merchant of Venice, Hi. 1; AWs Well that Ends Well, iv. 5; 
lead the measure (of fashion), AWs Well that Ends Well, ii. 1 ; thy 
master, AWs Well that Ends Well, ii. 3 ; possession by, Twelfth 
Night, Hi. 4 ; treated with courtesy, Twelfth Night, iv. 2 ; in like- 
ness of a bride, King John, Hi. 1 ; selling the soul to — due of, I. 
Henry IV, i. 2 ; Glendower's league with, I. Henry IV., ii. 2 ; com- 
mand — tell truth and shame the, I. Henry IV., Hi. 1 ; seem a saint 
and play the, Richard III., i. 3 ; mistake of, Timon of Athens, Hi. 3 ; 
Julius Caisar, i. 2 ; " can the, speak true % " Macbeth, i. 3 ; a painted, 
Macbeth, ii. 2 ; sold to, for Banquo's children, Macbeth, Hi. 1 ; hath 
power to assume a pleasing shape, Hamlet, ii. 2 ; with visage of de- 
votion, Hamlet, Hi. 1 ; prince of darkness, King Lear, Hi. 4 ; in the 
voice of a nightingale, King Lear, Hi. 6; reference to the cloven 
foot of, Othello, v. 2, " I look down toward his feet," etc. 

Devil(s), a born, The Tempest, iv. 1 ; speaking, The Tempest, v. 1 ; 
a demi-devil, The Tempest, v. 1 ; crime too inhuman for a, A Winter's 
Tale, Hi. 2; affect sanctity, Othello, ii. 3 ; names of, King Lear, Hi. 
4. See Fiends. 

Devotion, Two Gentlemen of Verona, ii. 7 ; Henry VIII, iv. 1 ; 
pretence of, Merchant of Venice, ii. 2 ; Othello, ii. 3 ; the devil su- 
gared over with the visage of, Hamlet, Hi. 1. 

Dew, from Bermuda's wicked, The Tempest, i. 2 ; tears of flow- 
ers, Midsummer-Night's Dream, Hi. 1; the, Midsummer-Nigh fs 
Dream, iv. 1 ; falling, King John, ii. 1 ; the air doth drizzle, Ro- 
meo and Juliet, Hi. 5 ; honey-dew, Titus Andronicus, Hi. 1. Pliny 
says that honey-dew is the saliva of the stars, or a liquid produced 
by the purgation of the air. 

Diana, the goddess, introduced in Pericles, v. 1 (or 2), where she 
appears to the king in a vision. Her livery, ii. 5 ; in the fountain, 
As You Like It, iv. 1. Dianas at fountains were not uncommon ; one 
set up in 1596 at West Cheap, London, poured water from the 
breasts; seemed as, Much Ado about Nothing, iv. 1; chaste as, 
Merchant of Venice, i. 2 ; bud of (Agnus Castus, chaste tree), Mid- 
summer-Night's Dream, iv. 1; knights of, AWs Well that Ends 



94 INDEX TO SHAKSPERE'S WORKS. 

Well, i. 3 ; from thy altar fly, AWs Well that Ends Well, ii. 3 ; her 
foresters, 7. Henry IV., i. 2 ; the stars her waiting-women, Troilus 
and Cressida, v. 2. 

Diana, a young girl, daughter of a widow in Florence, character 
in AWs Well that Ends Well, introduced in Hi. 5. 

Dice, Henry V., iv., prologue ; King Lear, Hi. 4 ; Antony and 
Cleopatra, ii. 3. See Gourd. 

Dick, a butcher, follower of Jack Cade in i7. Henry VI., iv. 2, 3. 

Dickens, the, Merry Wives of Windsor, Hi. 2. 

Dickon (Richard III.), Richard III., v. 3. ^ 

Dictator, a, Antony and Cleopatra, ii. 6. 

Dictynna (Diana), Love's Labour's Lost, iv. 2. 

Dido, Queen of Carthage, The Tempest, ii. 1 ; Merchant of Ven- 
ice, v. 1 ; Midsummer- Night's Dream, i. 1 ; II. Henry VI., Hi. 2 ; 
Titus Andronicus, ii. 3 ; Antony and Cleopatra, iv. 12 or 14. 

Die, to, is to be a counterfeit, I. Henry IV., v. 4 ; without a sign, 

II. Henry VI.. Hi. 3 ; when the brains were out, the man would, 
Macbeth, Hi. 4* 

Dieu vous garde, etc. (God guard you, sir, and you also your 
servant), Twelfth Night, Hi. 1. 

Di faciant, etc. (the gods grant this may be the last triumph), 

III. Henry VI, i. 3. 

Difficulty, as great as for a camel, etc., Richard II, v. 5. 

Diffused (wild, elf-like), Merry Wives of Windsor, iv. 4. 

Digest (? dissolve or receive), King Lear, i. 1. 

Digestion, described, Coriolanu*, i. 1, fable ; of unquiet meals, 
Comedy of Errors, v. 1 ; Troilus and Cressida, ii. 3 ; wait on appe- 
tite, Macbeth, Hi. 4. 

Dighton, John, a murderer, Richard III, iv. 3. 

Dignity(ies), of office, II. Henry IV., v. 3 ; Henry VIII., Hi. 
1 ; clay and clay differ in, Cymbeline, iv. 2. 

Dildos and fadings, refrains of songs, A Winter's Tale, iv. 3 or 4. 

Dilemmas (plans), All's Well that Ends Well, Hi. 6. 

Diluculo surgere, etc. (to rise early is most healthful), Twelfth 
Night, ii. 3, from Lily's Latin Grammar. 

Dimples, A Winter's Tale, ii. 3 ; Venus and Adonis, I. 242. 

Dinner, a man is unforgiving before, Coriolanus, v. 1; haste 
for, King Lear, i. 4. 

Diomedes, Grecian general, character in Troilus and Cressida, 
introduced in ii. 3. Cressida deserts Troilus for him, and they fight 
in v. 6. Alluded to in III. Henry VI, iv. 2. 



INDEX TO SHAKSPERE'S WORKS. 95 

Diomedes, an attendant of Cleopatra in Antony and Cleopatra, 
introduced in iv. 14. 

Dion, one of the lords sent to consult the oracle in A Winter's 
Tale, ii. 1 ; Hi. 1, 2. 

Dionyza, wife of Cleon, in Pericles, introduced in i. 4 ; plots 
against Marina, iv., prologue, 1, 3 or 4 ; burned in the palace, v. 3. 

Dirges, Cymbeline, iv. 2, " Notes of sorrow out of tune." 

Dis, The Tempest, iv. 1 ; wagon of, A Winter's Tale, iv. 3 or 4> 
Pluto, god of the realms of the dead. 

Disappointment, in one beloved, Sonnets xxxiv. to xlii. 

Disasters, attributed to planets, King Lear, i. 2 ; Hamlet, i. 1 ; 
Julius Caisar, Hi. 1 ; in lofty actions, Troilus and Cressida, i. 3. 

Discipline, of war, Henry V, Hi. 2 ; iv. 1; Richard III., v. 3 ; 
Troilus and Cressida, ii. 3. 

Discomfort, from the seeming spring of comfort, Macbeth, i. 2. 

Discontent, brows full of, Richard II., iv. 1 ; with the present, 
II. Henry IV., i. 3 ; popular, King John, Hi. 4', Henry VIII., i. 2 ; 
winter of, Richard III, i. 1 ; in poverty, Richard III, iv. 2 ; with 
one's talents, Sonnet xxix. ; Romeo and Juliet, Hi. 3. 

Discord, civil, II. Henry IV, i. 1. 

Discord, gives strength to the enemy, Troilus and Cressida, 
i.3. 

Discretion, the better part of valour is, I. Henry IV., v. 4 ; want 
of, in age, King Lear, ii. 4, " You are old," etc. ; honourable not to 
outsport, Othello, ii. 3. 

Discrimination, of man, Cymbeline, i. 6. 

Discussion, keen encounter of wits, Richard III, i. 2. 

Disdain, Lady, applied to Beatrice by Benedick, Much Ado about 
Nothing, i. 1. 

Disease(s), Measure for Measure, i. 2 ; worst before cure, King 
John, Hi. 4 ; vanity of sickness, King John, v. 7 ; (anxiety) I. Henry 
VI, ii. 5 ; King Lear, i. 1 ; turn to commodity — of not listening, 
II. Henry 1 V, i. 2 ; of the mind, Macbeth, v. 3 ; concealed, Hamlet, 
iv. 1 ; desperate, need desperate remedies, Hamlet, iv. 3 ; bestow the 
fee upon the, King Lear, i. 1 ; Venus and Adonis, I. 739. 

Diseases, rotten, of the south, Troilus and Cressida, v. 1 ; list 
of, Venus and Adonis, I. 739 ; ague, The Tempest, ii. 2 ; King John, 
Hi. 4 ; Richard II, ii. 1 ; I. Henry IV., Hi. 1 ; Henry VIII, i. 1 ; 
Troilus and Cressida, Hi. 3 ; Macbeth, v. 5 ; apoplexy, allusions to, 
II. Henry IV, i. 2; iv. 4; II. Henry VI. y iii. 2 ; Coriolanus, iv. 5 ; 
cataract, or pin-and-web, A Winter's Tale, i. 2 ; King Lear, Hi. 4: 



96 INDEX TO SHAKSPERE'S WORKS. 

consumption, Timon of Athens, iv. 3; King Lear, iv. 6; dropsy, 
The Tempest, iv. 1 ; I Henry 1 V., ii. 4 ; epilepsy, the, allusions to, 
Julius Ccesar, i. 2 ; Othello, iv. 1 ; fevers, Comedy of Errors, v. 1 ; 
Measure for Measure, v. 1 ; King John, v. 3 ; II. Henry I V., iv. 1 ; 
Henry V., ii. 1 ; Julius Caisar, i. 2 (see ague, above) ; fistula, AIVs 
Well that Ends Well, i. 1; green-sickness, II. Henry IV., iv. 3; 
Romeo and Juliet, Hi. 5 ; Antony and Cleopatra, Hi. 2; Pericles, 
iv. 6 ; gout, As You Like It, Hi. 2 ; Cymbeline, v. 4 ; heart-break, 
A Winter's Tale, Hi. 2; Richard III., i. 3; Macbeth, iv. 3 ; hys- 
teria, King Lear, ii. 4 ; indigestion, TJie Tempest, ii. 2, " My stom- 
ach is not constant ; " Comedy of Errors, v. 1 ; Love's Labour's Lost, 
i. 1 ; Midsummer-Night's Dream, ii. 2 ; iv. 1, " Like a sickness," 
etc.; jaundice, Troilus and Cressida, i. 3; leprosy (see measles); 
malady of France, Measure for Measure, i. 2 ; Henry V., v. 1 ; Peri- 
cles, iv. 2, 6 ; measles (leprosy), Coi iolanus, Hi. 1 ; Timon of Athens, 
iv. 1, 3 ; nightmare, King Lear, Hi. 4 ; palsy, allusions to, Richard II, 
ii. 3 ; II. Henry VI, iv. 7 ; Troilus and Cressida, i. 3 ; plague or 
pestilence, Love's Labour's Lost, v. 2 ; Troilus and Cressida, ii. 3 ; 
Coriolanus, i. 4 / *v. 1 ; Romeo and Juliet, v. 2 ; King Lear, ii. 4 ; 
plurisy (plethora), Hamlet, iv. 7 ; rheumatism, Midsummer-Night's 
Dream, ii. 1 ; Julius Caisar, ii. 1 ; sciatica, the, Measure for Meas- 
ure, i. 2 ; Timon of Athens, iv. 1 ; scrofula or king's evil, Timon of 
Athens, iv. 3, "Consumptions sow," etc.; Macbeth, iv. 3 ; serpigo, 
Measure for Measure, Hi. 1 ; Troilus and Cressida, ii. 3 ; swooning, 
Measure for Measure, ii. 4 ,' As You Like It, iv. 3 ; toothache, Mut h 
Ado about Nothing, Hi. 2 ; v. 1 ; Othello, Hi. 3 ; Cymbeline, v. 4. 

Bisedged, satiated, a term in falconry, Cymbeline, Hi. 4, 

Disguise, wickedness of, Twelfth Night, ii. 2. 

Disguises, of Julia, Two Gentlemen of Verona ; of Portia, Mer- 
chant of Venice ; of Rosalind and Celia, As You Like It ; of Viola, 
Twelfth Night, i.2; of Feste, Twelfth Night, iv. 2; of Edgar, King 
Lear, ii. 3 ; of Kent, King Lear, i. 4 1 of Falstaff , Merry Wives of 
Windsor, iv. 4 ; of Imogen, Cymbeline, Hi. 6. 

Dishonour, compared with death, Measure for Measure, Hi. 1 ; 
Lucrece, I. 1723 ; unconsciousness of one's own, Othello, iv. 1. See 
Honour. 

Dislike (displease), Romeo and Juliet, ii. 2. See Mislike. 

Disloyalty, rebuke of, Two Gentlemen of Verona, iv. 2, 4> 

Dismes (tens), Troilus and Cressida, ii. 2. 

Disobedience, Two Gentlemen of Verona, Hi. 1 ; Midsummer- 
Night's Dream, i. 1 ; Merchant of Venice, Hi. 1. 



INDEX TO SHAKSPERE'S WORKS. 97 

Disparity, of years, Passionate Pilgrim, xii. ; Midsummer- 
Night's Dream, i. 1 ; Othello, i. 3. 

Dispatch. See Promptness. 

Display, aversion to, Measure for Measure, i. 1. 4- 

Displeasure, rash, All's Well that Ends Well, v. 3. 

Disposer (attendant or handmaid), Troilus and Cressida, Hi. 1. 

Dissemble (disguise), Twelfth Night, iv. 2. 

Dissembling, allowable, Coriolanus, Hi. 2. 

Dissensions, civil, I Henry VI., Hi. 1 ; iv. 1, end ; between 
army leaders, I. Henry VI, iv. 3, 4 ; should be healed, III Henry 
VI, iv. 6. 

Dissimulation. See Deceit, Falsehood. 

Dissolution, of the earth, The Tempest, iv. 1 ; a man of con- 
tinual dissolution, and thaw, Merry Wives of Windsor, Hi. 5. 

Distaff, give the, to my husband, King Lear, iv. 2 ; turned to a 
lance, Cymbeline, v. 3. 

Distain (eclipse), Pericles, iv. 3 (or Jj). 

Distress, makes uncivil, As You Like It, ii. 7. 

Disunion, Troilus and Cressida, i. 3 ; King Lear, ii. 4. 

Dis vouched (contradicted), Measure for Measure, iv. 3. 

Dive-dapper, a small bird, Venus and Adonis, I. 86. 

Dives (Luke xvi. 19), allusion to, I. Henry IV., Hi. 3. 

Divine, a, that follows his own instructions. Merchant of Venice, 
i. 2 ; needed more than the physician, Macbeth, v. 1. 

Divine (immortal) soul, my, Richard II, i. 1. 

Divinity, the, that doth hedge a king, Hamlet, iv. 5 or 2 ; that 
shapes our ends, Hamlet, v. 2 ; in odd numbers, Merry Wives of 
Windsor, v. 1 ; reasoning in, Henry V., v. 1. 

Division (variations), I. Henry IV., Hi. 1. 

Divorce, Henry VIII, ii. 1, 2, 4. 

Divorced, doubly, Richard II, v. 1. 

Dizzy, a prisoner, Measure for Measure, iv. 3. 

Doctor, death will seize the. Cymbeline, v. 5. 

Doctors, two, characters in Macbeth : one, an English doctor, 
appears in iv. 3 ; the other, Scotch, attending Lady Macbeth, v. 1, 3. 

Document (lesson), Hamlet, iv. 5 (or 2). 

Dog, Launce's, Two Gentlemen of Verona, ii. 3, 5 ; iv. 4. 

Dog(s), spirits in form of, The Tempest, iv. 1 ; dank as a, I. 
Henry IV., ii. 1; howling of, ominous, II. Henry VI, i. 4> Til 
Henry VI, v. 6 ; rather be a, Julius Ccesar, iv. 3 ; various kinds of, 
Macbeth, Hi. 1 ; will have his day, Hamlet, v. 1 ; obeyed in office, 



98 INDEX TO SHAKSPERE'S WORKS. 

King Lear, iv. 6 ; not a word to throw at a, As You Like It, i. 3 ; 
of war, Julius Ccesar, Hi. 1. 

Dogberry, a blundering and conceited constable in Much Ado 
about Nothing, introduced in Hi. 3. " It is a charming incongruity 
to find, while Leonato rages and Benedick offers his challenge, that 
the solemn ass, Dogberry, is the one to unravel the tangle of threads." 
— Dowden. 

Dog-days, Romeo and Juliet, Hi. 1, " For now, these hot days," 
etc. ; Henry VIIL, v. 3. 

Doing, if doing were as easy as knowing what to do, Merchant 
of Venice, i. 2. 

Doit, John, II. Henry IV., in. 2. 

Doit, Merchant of Venice, i. 3. Equal to about half a far- 
thing. 

Dolabella, a friend of Caesar in Antony and Cleopatra, intro- 
duced in Hi. 12 ; his message to Cleopatra, v. 2. 

Dole (portion, lot), happy man be his, Merry Wives of Windsor, 
Hi. 4 ; A Winter's Tale, i. 2, and elsewhere. 

Dole (wailing), As You Like It, i. 2. 

Doll Tearsheet, a low woman, character in II. Henry IV., first 
appears in ii. 4. In Henry V., ii. 1, Pistol recommends her to Nym. 
It has been suggested that her name is corrupted from Tear-Street, 
which would explain the remark of the prince, " This Doll Tearsheet 
should be some road " (77. Henry IV., ii. 3). 

Dolphin, the. See Dauphin. 

Dolphin chamber, the, II. Henry IV., ii. 1. 

Domineer (bluster). Taming of the Shrew, Hi. 2. 

Donalbain (Donald Bane), younger son of King Duncan in Mac- 
beth. He escapes to Ireland after the murder of his father. He suc- 
ceeded his brother Malcolm on the throne of Scotland in 1093. 

Don Pedro. See Pedro. 

Doom, the crack of, Macbeth, iv. 1 ; the general, Romeo and Ju- 
liet, Hi. 2. 

Doomsday, Richard III., v. 1 ; Julius Cmsar, Hi. 1 ; is near, I. 
Henry IV., iv. 1, end ; Hamlet, ii. 2. 

Dorcas, a shepherdess, introduced in A Winter's Tale, iv. 4. 

Doricles, name assumed by Florizel, A Winter's Tale, iv. 3 or 4. 

Dorset, Thomas Grey, first Marquis of, character in Richard 
III, son of Queen Elizabeth, first appears in i. 3. He joined .Buck- 
ingham's rebellion, but escaped to Brittany after its failure. His 
marriage with the daughter of William Bonville, Lord Harrington, 



INDEX TO SHAKSPERE'S WORKS. 9<) 

is spoken of in III. Henry VI, iv. 1. Lady Jane Grey was his 
great-granddaughter. 

Double meanings, Macbeth, v. 7, " Keep the word of promise 
to our ear and break it to our hope." 

Doublet and hose, courage due from, As You Like It, ii. 4 ; 
in my disposition, As You Like It, Hi. 2. 

Doubt, beacon of the wise, Troilus and Cressida, ii. 2 ; worse 
than certainty of evil, Cymbeline, i. 6. 

Doubts, are traitors, Measure for Measure, i. 5. 

Doubts (suspicions), the noble cast away, Henry VIIL, Hi. 1. 

Dough, the cake is, Taming of the Shrew, i. 1; v. 1. 

Douglas, Archibald, Earl of, character in I. Henry IV., intro- 
duced in iv. 1. His defeat at Holmedon or Homildon Hill, Septem- 
ber 14, 1402, by Hotspur, is described in i. 1. He afterward became 
the ally of the Percys when they rebelled against Henry IV. On the 
field of Shrewsbury, July 23, 1403, he kills Lord Stafford and Sir 
Walter Blunt, mistaking them for the king. When he meets the 
king at last, the prince comes to his father's rescue, and Douglas 
flies. Taken prisoner afterward, he is set free by the prince, v. 5. 
He is brave, fearless, and faithful. 

Dove(s), allusions to : Modest as, Taming of the Shrew, ii. 1 ; 
A Winter's Tale, iv. 4 (turtles) ; spirit of peace, II. Henry 1 V., iv, 
1 ; Mahomet's, I. Henry VI, i. 2 (see Mahojiet) ; like a pair of, 1. 
Henry VI, ii. 2 ; innocence of, II. Henry VI., Hi. 1 ; faithfulness 
of, Troilus and Cressida, Hi. 2 (turtle) ; love and, Romeo and Juliet, 
ii. 1 ; young of, Hamlet, v. 1 ; doves of Venus, The Tempest, iv. 1 ; 
presents of, Merchant of Venice, ii. 2 ; Midsummer-Night 's Dream, 
i. 1 ; Venus and Adonis, I. 1190 ; of Paphos, Pericles, iv., prologue. 
Paphos is on the island of Cyprus, where Venus was worshipped. 

Dover, England, scene of part of King Lear ; cliffs of, King 
Lear, iv. 1, end ; iv. 6. 

Dowland, John, an English musician (1562-1626), who called 
himself a " lutenist," and published song-books, Passionate Pilgrim, 
viii. Wood says, "We are assured that John Dowland was the 
rarest musician that his age did behold." 

Dowry, a curse for a, King Lear, i. 1 ; Hamlet, Hi. 1. 

Dowsabel, name applied to a fat woman, Comedy of Errors, 
iv. 1. 

Drachma (about sevenpence), Julius Cmsar, Hi. 2. 

Draft, of soldiers, I. Henry IV., iv. 2. 

Dragon(s), on the chariot of night, Midsummer-Night's Dream, 



100 INDEX TO SHAKSPERE'S WORKS. 

Hi. 2; Cymbeline, ii. 2 ; St. George and the, on sign-boards, King 
John, ii. 1 ; spleen of fiery, Richard III., v. 3 ; like to a lonely, 
Coriolanus, iv. 1 ; between a, and his wrath, King Lear, i. 1. 

Dreams, The Tempest, Hi. 2 ; such stuff as, The Tempest, iv. 1 ; 
of money-bags, Merchant of Venice, ii. 5; if, be thus, Twelfth 
Night, iv. 1 ; are toys, A Winter's Tale, Hi. 3 ; of war, I. Henry I V., 
ii. 3 ; of the Duke and Duchess of Gloucester, II. Henry VI, i. 2; 
of Clarence, Richard III, i. 4 ; of Stanley, Richard III., Hi. 2 ; of 
Richard and Richmond, Richard III, v. 3 ; of Andromache, Troilus 
and Cressida, v. 3 ; Queen Mab in— substance of. Romeo and Juliet, 
i. 4 ; presaging, Romeo and Juliet, v. 1 ; of Caesar's wife, Julius 
Caisar, ii. 2 ; evil suggestions in, Macbeth, ii. 1; bad, Hamlet, ii. 
2 ; Cymbeline, v. 4; iv. 2, '"Twas but a bolt of nothing," etc.; of 
one loved, Sonnet xliii. ; that may come in the sleep of death, Ham- 
let, Hi. 1. 

Dress, of a bridegroom, Taming of the Shrew, Hi. 2 ; women's, 
Taming of the Shrew, iv. 3 ; unimportance of, Taming of the Shrew, 
iv. 3 ; devotion to, AIVs Well that Ends Well, i. 2, " Whose judg- 
ments are," etc.; neat and trim, /. Henry IV., i. 3 ; extravagance 
in, Henry VIII, i. 1, " Manors on their backs," etc. ; rule for, Ham- 
let, i. 3 ; Cymbeline, Hi. 4 ; iv. 2 ; Richard III, i. 2. 

Drink, Twelfth Night, i. 3; Macbeth, ii. 3 ; an enemy in the 
mouth, Othello, ii. 3. 

Drinking, the English experts in, Othello, ii. 3. See Drunk- 
enness. 

Drinking-scenes, The Tempest, ii. 1 ; Hi. 2 ; Twelfth Night, 
ii. 3 ; Othello, ii. 3 ; Antony and Cleopatra, H. 7. 

Drinking-song, Antony and Cleopatra, ii. 7. 

Dromios, the two, of Ephesus and Syracuse, twin brothers, serv- 
ants of the twin Antipholuses in the Comedy of Errors, introduced 
in t. 2 and Hi. 1. Dromio of Syracuse is described by his master as 
" A trusty villain, sir, that very oft, 
When I am dull with care and melancholy, 
Lightens my humour with his merry jests." 

Drop, one, seeks another, Comedy of Errors, i. 2. 

Drop-Heir, a prisoner, Measure for Measure, iv. 3. 

Drowned, not born to be, The Tempest, i. 1 ; Two Gentlemen of 
Verona, i. 1. 

Drowning, longing of the, for land, The Tempest, i. 1, end; 
dream of, Richard III., i. 4 ; death by, Hamlet, iv. 7 or 4 ; suicide 
by, Othello, i. 3. 



INDEX TO SHAKSPERE'S WORKS. 101 

Drowning-mark, The Tempest, i. 1 ; v. 1. 

Drum, let him fetch off his, A IV s Well that Ends Well, Hi. 6. 

Drum, John, entertainment of (a beating), AW s Well that Ends 
Well, Hi. 6. 

Drunk, in godly company, Merry Wives of Windsor, i. 1. 

Drunkard, one loves another, Love's Labour's Lost, iv. 3. 

Drunken man, what like, Twelfth Night, i. 5. 

Drunkenness, The Tempest, Hi. 2 ; iv. 1; v.l ; folly of, Othel- 
lo, ii. 3 ; Merry Wives of Windsor, i. 1, 2 ; Taming of the Shrew, 
induction, 1 ; Much Ado about Nothing, Hi. 3. 

Dry-beat (beat soundly), Romeo and Juliet, Hi. 1. 

Dry-foot, draws (follows the scent), Comedy of Errors, iv. 2. 

Ducats, gild myself with, Merchant of Venice, ii. 6 ; my daugh- 
ter and my, Merchant of Venice, ii. 8 ; fourscore spent, Merchant 
of Venice, Hi. 1. 

Ducdame, As You Like It, ii. 5. Of uncertain meaning. Some 
read it Due ad me, lead to me. 

Duck, swim like a, The Tempest, ii. 2. 

Dudgeon (handle), Macbeth, ii. 1. 

Duel(s), contemplated, Merry Wives of Windsor, i. 4 > **• 1, 3 ; 
Hi. 1; Much Ado about Nothing, v. 1; Twelfth Night, Hi. 4; 
threats of a, AlVs Well that Ends Well, ii. 3 ; between Horner and 
Peter, II. Henry VI, ii. 3 : Hamlet, i. 1. See Challenges. 

Duelling, causes for. Love's Labour's Lost, i. 2, end ; satire on 
rules of, As You Like It, v. 4. The passage is supposed to have been 
suggested by a book on the punctilio of duelling, by Vincentio Savi- 
olo, published in 1596. Terms of, Romeo and Juliet, ii. 4 ; Hi. 1 ; 
Taming of the Shrew, Hi. 5. 

Duke, the, in As You Like It, who is living in the Forest of 
Arden, his brother having usurped his place. He is introduced in 
ii. 1. He is just and moderate, unembittered by the wrong he has 
suffered, and as happy in the forest as at the court. 

Duke of Dark Corners, the, Measure for Measure, iv. 3. 

Dull, a stupid constable in Love's Labour's Lost, introduced in 
i. 1. 

Dulness, Hamlet, iv. 1. 

Dumbleton, a merchant spoken of in II. Henry IV., i. 2. 

Dumain, one of the lords attending on the king in Love's La- 
bour's Lost, introduced in the first scene — 

" For he hath wit to make an ill shape good, 
And shape to win grace though he had no wit." 



102 INDEX TO SHAKSPERE'S WORKS. 

Dumain, Captain, slanderously described by Parolles in AIVs 
Wtll that Ends Well, iv. 3. 

Dumps (sad music), Two Gentlemen of Verona, Hi. 2 ; Lucrece, 
I. 1127, and elsewhere. 

Dun, if thou art, Romeo and Juliet, i. 4- Allusion to the game 
Dun-is-in-the-Mire. Dun was a log of wood, which stood for a horse 
and was said to be in the mire. Two of the company tried to pull 
him out, calling one after another of the rest to their assistance, 
until all were helping, and Dun was at length pulled out. 

Dunbar, George, Earl of March, in Scotland called Lord Mor- 
timer, letter, from, 1. Henry 1 V, ii. 3 ; Hi. 2. His title March Jed 
to the mistake of calling him Mortimer. 

Duncan, King of Scotland, character in JIacbefh, described by 
Macbeth in i. 7. He first appears in i. 2, visits Macbeth's castle, i. 
6, and is murdered, ii. 1. The circumstances of the murder are 
taken from the account of the assassination of King Duff. In other 
respects, the play follows the traditionary story, as told in Holinshed, 
quite closely. The real Duncan, whose death took place by the 
treachery of Macbeth, Mormaer of Moray, in 1040, is said to have 
been an unjust and somewhat weak sovereign. The gracious char- 
acter ascribed to him in the play is according to the chronicle. 

Duns, of creditors, Timon of Athens, ii. 1, 2 ; Hi. 4. 

Dunsinane, a hill nine miles northeast of Perth, Macbeth, iv. 1, 
scene of act v. ; battle of, v. 6, 7, 8. 

Dunsmore, III. Henry VI., v. 1. 

Dunstable, Henry VIII, iv. 1. 

Dupe, an easy, King Lear, i. 2. 

Duplicity. See Deceit, Falsehood. 

Duty, to make virtue known. Measure for Measure, i. 1 ; service 
sweat for, As You Like It, ii. 3 ; promptings of, Midsummer- 
Nighfs Dream, v. 1; did never want his meed, Two Gentlemen of 
Verona, ii. 4 ,' unswerving, Henry VIII, in. 2 ; Hamlet, ii. 2 ; can- 
not be silent, King Lear, i. 1, 4. 

Eagle(s), the sight of, Love's Labour's Lost, iv. 3 ; III. Henry 
VI, ii. 1 ; flight of, Timon of Athens, i. 1 ; age of, Timon of Athens, 
iv. 3 ; suffer little birds to sing, Titus Andronicus, iv. 4 / omens of 
victory, Julius Ccesar, v. 1 ; Cymbeline, i. 1 ; iv. 2 ; a hungry, Venus 
and Adonis, I. 55 ; eye of, Romeo and Juliet, Hi. 5 ; Richard II, 
Hi. 3 ; England the, Henry V., i. 2 ; the holy, Cymbeline, v. 4. 

Ear (to plough), Antony and Cleopatra, i. 2, 4. 



INDEX TO SHAKSPERE'S WORKS. 103 

Ear(s), what fire is in my, Much Ado about Nothing, Hi. 1. Al- 
lusion to the supposed burning of the ears when one is talked of. 
Locks worn by the, Much Ado about Nothing, Hi. 3 ; v. 1 ; biting 
the, Romeo and Juliet, ii. 4; thy fair, large, Midsummer-Night 's 
Dream, iv. 1 ; ear of man hath not seen, Midsummer-Night's Dream, 
iv. 1 ; deaf to counsel, not to flattery. Timon of Athens, i. 2 ; prom- 
ise kept to the, Macbeth, v. 8 ; give every man thine, Hamlet, i. 3 ; 
light of (ready to hear scandal), King Lear, Hi. 4- 

Early rising, Twelfth Night, ii. 3. 

Early training, 77. Henry VI, Hi. 1, " Now 'tis the spring," 
etc. ; Hamlet, i. 3, " The canker galls," etc. 

Earth, the, I task (throw down my gage), Richard II., iv. 1 ; 
curse on, Timon of Athens, iv. 3, " That nature," etc. ; mother and 
tomb of nature, Romeo and Juliet, ii. 3 ; a sterile promontory, Ham- 
let, ii. 2 ; a girdle round the, Midsummer-Night's Dream, ii. 1; 
nothing lives on, but crosses, Richard II, ii. 2 ; more things in 
heaven and, Hamlet, i. 5. 

Earthquakes), As You Like It, Hi. 2 ; explanation of, I. Henry 
I V., Hi. 1 ; Romeo and Juliet, i. 3. Perhaps an allusion to one felt 
in England, April 6, 1580. The earth feverous, Macbeth, ii. 3. 

Eastcheap, in London, scene of parts of I. and II Henry I V., 
and Henry V., which are at the Boar's Head Tavern, kept by Mrs. 
Quickly. A tavern with that sign stood near Blackfriars Play- 
house. Eastcheap was near the mansion assigned to the Prince of 
Wales. 

Easter, allusion to the custom of wearing new clothes at, Romeo 
and Juliet, Hi. 1, " Wearing his new doublet before Easter." 

Eater, a hearty, Much Ado about Nothing, i. 1, "A valiant 
trencher-man." 

Eating. See Appetite, Digestion, Dinner. 

Ebony, black as, Love's Labour's Lost, iv. 3. 

Eaves, made of reeds, The Tempest, v. 1. 

Eaves-dropper, play the, Richard III, v. 3. 

Ecce signum (behold the sign), 7. Henry IV., ii. 4. 

Eche (eke), Pericles, Hi., prologue. 

Echo, babbling gossip, Twelfth Night, i. 5 ; cave of, Romeo and 
Juliet, ii. 2 ; Taming of the Shrew, induction, 2; Titus Androni- 
cus, ii. 3. 

Echo, name of a dog, Taming of the Shrew, induction. 1. 

Eclipses, ominous, Macbeth, ii. 3 ; iv. 1 ; Hamlet, i. 1 ; King 
Lear, i. 2 ; Othello, v. 2 ; Antony and Cleopatra, Hi. 13. 
10 



104 INDEX TO SHAKSPERE'S WORKS. 

Ecstasy (madness), The Tempest, Hi. 3 ; Hamlet, Hi. 4, and 
elsewhere. 

Edgar, son of Gloucester, in King Lear, introduced in i. 2 ; his 
brother's plot against him, i. 2 ; ii. 1; his flight, ii. 1; his feigned 
madness, ii. 3 ; Hi. 4, 6 ; iv. 1 ; fights with Oswald, iv. 6 ; is restored 
to his place, v. 3. The character of Edgar is contrasted with that of 
Edmund ; both are able, but Edgar's uprightness and unsuspicious- 
ness make him at first an easy prey to his brother's scheme ; yet he 
carries out his own designs with patience and skill. 

Edmund, Earl of Rutland. See Rutland. 

Edmund, an important character in King Lear, illegitimate son 
of Gloucester, introduced in the first scene. He is able, bold, and 
wicked, his wickedness finding some excuse in the fact that he is em- 
bittered by the stain upon his birth, and the consequent injustice 
which he feels he labours under, and some mitigation in the fact that 
he is not a hypocrite to his own conscience, but writes himself down 
"plain villain." His plot against Edgar, i. 2; ii. 1; his double- 
dealing with Regan and Goneril, iv. 5, 6 ; v. 1, 3. 

Education, for a gentleman, As You Like It, i. 1. See Grammar. 

Edward, the Confessor (1004-106G), Macbeth, Hi. 6. 

Edward III. (1312-1377), Henry V, ii. 4; at Crecy, *. 2. 

Edward, the Black Prince (1330-1376), Richard II, ii. 1, " In 
war was never," etc. ; Henry V., i. 2 ; ii. 4. 

Edward, Prince of Wales (1453-1471), son of Henry VI., char- 
acter in III. Henry VI, introduced in i. 1; disinherited, ii. 2; 
knighted, ii. 2 ; captured and killed, v. 5. It is not certain whether 
he fell in battle or was put to death afterward. 

Edward IV. (1442^1483), character in II and III Henry VI, 
and Richard III. In the first he appears as Edward, son of the 
Duke of York, only in v. 1. In III. Henry VI. he is introduced 
in i. 1, as Earl of March. On the death of his father at Wakefield, 
i. 4, he becomes Duke of York and claimant to the throne. He de- 
feats the Lancastrians at Mortimer's Cross, ii. 1. This scene gives 
the traditional origin of his device of the three suns. He went to 
London and was proclaimed king, then went north and won the 
battle of Towton (March 29, 1461), ii. 4. and returning to London 
was crowned king. His marriage with Lady Grey gives offence in 
France and turns the Earl of Warwick against him, Hi. 3 ; iv. 1. 
His capture and rescue are in iv. 3, 5, 6 ; in v. 2, the battle of Barnet 
(April 14, 1471), where Warwick was killed, and in v. 4 that of Tewks- 
bury (May 4, 1471), where Margaret's forces were defeated. These 



INDEX TO SHAKSPERE'S WORKS. 105 

victories and the death of Henry VI. made him secure on the throne. 
The profligate character attributed to him in the play is matter of 
history. In Richard III. he is introduced in ii. 1 ; his remorse for 
the fate of Clarence, ii. 1 ; his death, ii. 2. 

Edward, Prince of Wales (Edward V.), son of Edward IV., 
character in Richard III., appears first in Hi. 1, where he is sent to 
the Tower. His beauty, Hi. 1, 2 ; declared illegitimate by Bucking- 
ham, Hi. 7 ; his death, iv. 2, 3 ; his ghost, v. 3. In the mere hints 
given of his character he appears as having a delicate tact, with 
precocity of discretion and caution, quite in contrast with the saucy 
wit of his younger brother, little Richard of York (1470-1483). 

Eels, King Lear, ii. 4. Allusion to the opinion that they were 
roused by thur.der, Pericles, iv. 3. 

Effeminacy, loathed, Troilus and Cressida, Hi. 3 ; of Antony, 
Antony and Cleopatra, i. 4. 

Egeus, father of Hermia, in Midsummer-Nighfs Bream, intro- 
duced in i. 1. 

Eggs, to steal, from a cloister, AIVs Well that Ends Well, iv. 3 ; 
for money (proverb), A Winter's Tale, i. 2. 

Eglaraour, a character in the Two Gentlemen of Verona, who 
helps Silvia to escape, iv. 3. 

Egypt, name applied to Cleopatra in Antony and Cleopatra. 

Egyptian fog, Twelfth Night, iv. 2. 

Egyptian thief, Twelfth Night, v. 1. Thyamis, chief of a band 
of robbers, who killed his mistress when surprised by a stronger 
band, that he might have her company in the other world. 

Eisel (vinegar), Sonnet cxi. See also Esill. 

Elbow, rub the, I. Henry IV., v. 1. Allusion to the notion that 
an itching elbow was a precursor of change. 

Elbow, an ignorant and amusing constable in Measure for Meas- 
ure, introduced in ii. 1, whose use of English is much like Dogberry's. 
He arrests ' k two notorious benefactors " who are " void of all profa- 
nation in the world that good Christians ought to have." 

Elder-tree, allusion to the belief that it grows where blood has 
been shed, Titus Andronicus, ii. 4; emblem of grief, Cymbeline, iv. 2. 
Judas was said to have hanged himself on an elder, Love's Labour's 
Lost, v. 2. 

Eleanor, Duchess of G loucester, in Richard II. See Gloucester, 

Eleanor, wife of Humphrey, Duke of Gloucester. She was the 
daughter of Reginald, Lord Cobham, and celebrated for her beauty 
and bad morals. She is a character in II. Henry VI, introduced in 



106 INDEX TO SHAKSPERE'S WORKS. 

i. 2, where her ambition to become queen is expressed, and her deter- 
mination to resort to witchcraft ; her meeting with the witch, *. 4; 
charge against her, ii. 1 ; sentenced to banishment, ii. 3 ; led bare- 
foot through the streets, ii. 4- It was charged that she or her accom- 
plices melted before the fire a waxen image of the king, that his life 
might waste away as the wax melted. Her trial took place in 1441, 
and Queen Margaret did not arrive in England till 1445, so that 
their meeting in i. 3 is by dramatic license. The " Hall of Justice " 
is St. Stephen's Chapel. Westminster. Eleanor was imprisoned in 
Chester Castle, and afterward in Kenilworth, where she died in 1454. 

Election, the doctrine of, Measure for Measure, i. 3, " On whom 
it will, it will," etc. 

Elements, a word over- worn, Twelfth Night, in. 1 ; the four, 
Twelfth Night, ii. 3 ; Antony and Cleopatra, v. 2 ; Sonnets xliv., 
xlv. ; so mixed, Julius Ccesar, v. 5 ; alluding to the idea that the 
body is composed of the four elements, and that health and ability 
depend on their due proportion ; Lear's appeal to the, King Lear, 
Hi. 2. 

Elephant, the, an inn, Twelfth Night, Hi. 3. 

Elephant, the, Troilus and Cressida, ii. 3. Alluding to the 
notion that the elephant had no joints, and could not bend its knees 
or lie down. Betrayed with holes (pitfalls), Julius Cozsar, ii. 1. 

Elf-locks, Romeo and Juliet, i. 4. Fairies were supposed to 
mat and tangle the manes of horses into " elf-locks." 

Elinor of Aquitaine, widow of King Henry II., character in 
King John, introduced in the first scene. She is the inspirer of the 
worst deeds of her son John. Constance, whom she hates and tor- 
ments through Arthur, calls her an offence to morality. She had 
before incited her sons against their father, Henry II. (1122-1204). 

Elizabeth "Woodville (Lady Grey), queen of Edward IV., char- 
acter in Richard HI, introduced in i. 3. In iv. 4, she entertains the 
proposal for her daughter's hand, of the king, the enemy of her house, 
and the one responsible for the murder of her sons. She was the 
daughter of Richard Woodville, Earl Rivers, and the first English 
woman that was raised from the rank of subject to that of royalty 
after the Conquest. Her first husband was Sir John Grey, who was 
slain at St. Albans fighting for the House of Lancaster. His estate 
was confiscated when the Yorkists came into power. Tradition says 
that she first met Edward IV. in a forest near Grafton, her father's 
residence, where he was hunting, and where she sought him to peti- 
tion for the restoration of her husband's estate to her and her chil- 



INDEX TO SHAKSPERE'S WORKS. 107 

dren. The tree under which they were said to have met was known 
for centuries as the Queen's Oak. For other members of her family, 
see Edward V., Elizabeth, Richard, Rivers, and Scales. 

Elizabeth, the princess, daughter of Edward IV. Richard III. 
resolves to marry her, iv. 2, 3, and proposes it to her mother, iv. 4, 
who professes to entertain the proposal while secretly planning to 
marry her to Richmond in case of his success. She is betrothed to 
Richmond, v. 5. This united the title of the House of York to that 
T>i Henry VII., which was very slight. 

Elizabeth, Queen, her birth, Henry VIII, v. 1 ; christening, v. 
2, 3, 4 >' Cranmer's prophecy concerning her, v. 4. In Hi. 2, Suffolk 
makes something like a prophecy of her reign when speaking of her 
mother, " There's order given," etc. See Boleyn. The passage in 
Midsummer-Night's Dream, ii. 1, beginning "That very time I 
saw," is supposed to be an allusion to Elizabeth (1533-1603). 

Elm and vine, figure of the, Comedy of Errors, ii. 2 ; Midsum- 
mer-Night's Dream, iv. 1. 

Elopements, Two Gentlemen of Verona, ii. 4 ; Hi. 1 ; v. 2 ; 
Merry Wives of Windsor, iv. 6 ; v. 5 ; Merchant of Venice, ii. 6, 8 ; 
Midsummer-Nigh i's Dream, i. 1 ; iv. 1; A Winter's Tale, iv. 3 or 
4 ; Othello, i. 1-3. 

Eloquence, Love's Labour's Lost, ii. 1, "Aged ears play tru- 
ant," etc. ; Henry V., i. 1, " The air, a chartered," etc. ; Lover's Com- 
plaint, I. 120 ; a tapster's, I. Henry IV., ii. 4> 

Elsinore, in the island of Seeland, Denmark, scene of a part of 
Hamlet ; cliff at, i. 4- 

Elves, offices of, The Tempest, v. 1. See Fairies. 

Elvish-marked, Richard HI, i. 3. Allusion to the notion that 
deformity was due to evil fairies. 

Ely, John Fordham. Bishop of, from 1388 to 1425, character in 
Henry V., enters in scene first in conference with the Archbishop of 
Canterbury, to whom he plays second throughout. 

Ely, John Morton, Bishop of, character in Richard III, first 
appears in Hi. 4; the strawberries in his garden, Hi. 4. In iv. 3 he 
flees to Richmond. He was made Bishop of Ely in 1478, and of 
Canterbury in 1486, and Lord Chancellor in 1487. The marriage of 
Richmond and Elizabeth was his suggestion. Sir Thomas More was 
a member of the bishop's household in his youth, and doubtless used 
information received from him in the life he afterward wrote of 
Richard in Latin, which furnished the chroniclers with a part of 
their material regarding his reign. 



108 INDEX TO SHAKSPERE'S WORKS. 

Ely House, London, scene of a part of Richard II. 

Elysium, Two Gentlemen of Verona, ii. 7 ; Twelfth Night, i.2; 
II Henry VI, i. 2 ; Cymbeline, v. 4> 

Emballing, Henry VIII, ii. 3. Receiving th3 ball given to 
sovereigns at coronation. 

Emblems, at coronation, Henry VIII, iv. 1. See Roses. 

Embossed (foaming at the mouth from hard running — hence, 
run nearly to death), Taming of the Shrew, induction, 1 ; AWs Well 
that Ends Well, Hi. 6 ; Antony and Cleopatra, iv. 13. 

Embowelled (embalmed), I Henry IV., v. 4. 

Embrace, before battle, 7. Henry IV., v. 2, end. 

Emilia, an attendant of the queen in A Winter's Tale, ii. 2. 

Emilia, Iago's wife, in Othello, introduced in ii. 1. 

" Emilia is a perfect portrait from common life, a masterpiece in 
the Flemish style : and though not necessary as a contrast, it cannot 
be but that the thorough vulgarity, the loose principles of this ple- 
beian woman, united to a high degree of spirit, energetic feeling, 
strong sense, and low cunning, serve to place in brighter relief the 
exquisite refinement, the moral grace, the unblemished truth, and 
the soft submission of Desdemona." — Mrs. Jameson. 

Emmanuel, clerk of Chatham, II Henry VI, iv. 2, " They use 
to write it on the top of letters." The name was written at the head 
of public papers. 

Emmew (keep in a cage or mew by terror, as a falcon does a 
fowl), Measure for Measure, Hi. 1, " And follies doth emmew." 

Emotions, AWs Well that Ends Well, Hi. 2 ; silent, Much Ado 
about Nothing, ii. 1; Henry VIII, v. 1; conflicting, A Winter's 
Tale, v. 2 ; King Lear, iv. 3 ; of joy, Pericles, v. 1. 

Empericeutic (empiric), Coriolanus, ii. 1. In some old texts it 
is " empyric qutique." 

Emperor of Home, candidates for the office of, Titus Androni- 
cus, i. 1 or 2. 

Empirics, AIVs Well that Ends Well, ii. 1, " We thank you." 

Employment, affects nature, Sonnet cxi. 

Empress, station of an, Titus Andronicus, ii. 1. 

Emulation (rivalry), Troilus and Cressida, ii. 2, end ; hath a 
thousand sons, Troilus and Cressida, Hi. 3 ; virtue cannot live out 
of the teeth of, Julius Ccesar, ii. 3. 

Enceladus, Titus Andronicus, iv. 2. The fabled giant under 
Mount JEtna. 

End, the, justifies the means, Lucrece, I. 528; crowns all> King 
John, i. 1 ; Troilus and Cressida, iv. 5. 



INDEX TO SHAKSPERE'S WORKS. 109 

Endurance. See Fortitude. 

Endyxnion, a beautiful shepherd, beloved by Diana, Merchant 
of Venice, v. 1. 

Enemy(ies), at my mercy, The Tempest, iv. 1 ; during a truce, 
Troilus and Cressida, iv. 1 ; dearest, I. Henry IV., Hi. 2 ; praise of 
an, I. Henry IV., iv. 1, " No more," etc. ; wisdom of accounting him 
strong, Henry V., ii. 4; combination against, King Lear, v. 1; 
union before a common, Antony and Cleopatra, ii. 1, 2 ; folly of 
imitating an, Henry V., iv. 1; causeless, Henry VIII., ii. 4,' drink 
is an enemy in the mouth, Othello, ii. 3. 

Engaged (held as a hostage), I. Henry IV., iv. 4 ; v. 2. 

Engine (instrument of torture), King Lear, i. 4. 

Engineer, hoist with his own petar, Hamlet, Hi. 4, end. 

England, curiosity in, The Tempest, ii. 2; Comedy of Errors, 
Hi. 2 ; white-faced shore of, King John, ii. 1; if only true to itself, 
King John, v. 7 ; praise of — evil times in, Richard II., ii. 1 ; an un- 
tended garden, Richard II., Hi. 4; claim of kings of, to France, 
Henry V., i. 2 ; a little body with a mighty heart, Henry V., ii., 
chorus ; the defence of, III. Henry VI., iv. 1 ; in Elizabeth's time, 
Henry VIII., v. 5. See Britain. 

English, the, bravery of, Henry V., Hi. 5, 6 ; French opinion of, 
Henry V, in. 7 ; iv. 1,2; diet of, I. Henry VI, i.2 ; Froissart's ac- 
count of, I. Henry VI, i. 2 ; tenacity of, I. Henry VI., i. 2, " Rather 
with their teeth," etc. ; have angels' faces, Henry VIII., Hi. 1 ; epi- 
cures, Macbeth, v. 3 ; drinking habits of, Othello, ii. 3 ; dress of one 
of the, Merchant of Venice, i. 2. 

English, (language), the king's, Merry Wives of Windsor, i. 4 ; 
a fellow that frights it out of his wits, Merry Wives of Windsor, ii. 1 ; 
let them hack our, Merry Wives of Windsor, Hi. 1 ; makes fritters of, 
Merry Wives of Windsor, v. 5 ; a lesson in, Henry V., Hi. 4. 

Enlarge (set at liberty), Twelfth Night, v. 1, and elsewhere. 

Enmity. See Hatred. 

Enobarbus, Domitius, character in Antony and Cleopatra, in- 
troduced in i. 2 ; his desertion, iv. 5 ; remorse, iv. 6, 9 ; death, iv. 9. 

" Enobarbus, who sees through every wile and guile of the queen, 
is, as it were, a chorus to the play, a looker-on at the game ; he stands 
clear of the golden haze which makes up the atmosphere around Cle- 
opatra ; and yet he is not a mere critic or commentator (Shakspere 
never permitting the presence of a person in his drama who is not a 
true portion of it). Enobarbus himself is under the influence of the 
charm of Antony, and slays himself because he has wronged his mas- 
ter." — Dowdex. 



110 INDEX TO SHAKSPERE 'S WORKS. 

Enskied (in heaven). Measure for Measure, i. 5. 

Enterprise(s), want of, All's Well thai Ends Well, i. 1 ; a des- 
perate, /. Henry VI, ii. 1 ; failure of great, by irresolution, Hamlet, 
Hi. 1. 

Entertain (take into service), Julius Cmsar, v. 5. 

Entrails, as if, were hairs, Henry V., Hi. 7. Alluding to the 
bounding of a tennis-ball, which was stuffed with hair. 

Envoy (a stanza, first or last, conveying the moral of a poem, or 
addressing it to some person), Love's Labours Lost, Hi. 1. 

Envy (generally in the sense of malice), Merchant of Venice, iv. 
1; As You Like It, i. 2 ; of the world, As You Like It, ii. 3 ; of a 
father, I. Henry IV., i. 1; Richard III., iv. 1 ; Henry VIII, Hi. 2, 
"Follow your envious courses," etc.; v. 2; lean-faced, II. Henry 
VI, Hi. 2 ; Troilus and Cressida, ii. 1 ; Lucrece, I. 39. 

Ephesians (slang for carousers), II. Henry IV., ii. 2. 

Ephesus, scene of the Comedy of Errors. Its quarrel with 
Syracuse and its bad name for sorcery adapted it for the scene of the 
extravagant incidents of the play. It is also the scene of a part of 
Pericles. 

Epicurean, Cassius an, Julius Cmsar, v. 1. 

Epidamnum, in Illyria, Comedy of Errors, i. 1, 2 ; v. 1. 

Epidaurus, Comedy of Errors, i. 1. 

Epilepsy, or falling-sickness, Julius Cmsar, i. 2 ; Othello, iv. 1. 

Epilogues, to The Tempest (not by Shakspere, probably, perhaps 
by Ben Jon son) ; to As You Like It ; to All's Well that Ends Well, 
probably not by Shakspere; to II. Henry IV., probably not by 
Shakspere; to Henry V. ; to Henry VIII, probably not by Shak- 
spere. 

Epitaph(s), on Hero, Much Ado about Nothing, v. 3 ; on the deer, 
Love's Labour's Lost, iv. 2 ; lying, All's Well that Ends Well, ii. 3, 
" And these breed honour," etc. ; on Timon, Timon of Athens, v. 4. 
This is made up of two, one said to have been written by Timon 
himself, the other by the poet Callimachus. Better have a bad, than, 
etc., Hamlet, ii. 2. 

Epitheton (epithet), Love's Labour's Lost, i. 2. 

Epithets, sweetly varied, Love's Labour's Lost, v. 2; pretty, 
fond, adoptious Christendoms, All's Well that Ends Well, i. 1. 

Equality, of man, A Winter's Tale, iv. 3, ; ' Once or twice I was 
about to speak," etc. ; Henry V., iv. 1, " The king is but a man," etc. ; 
Richard III, i. 4, " Princes have but," etc. ; Coriolanus } i. 1, " The 
gods sent not corn," etc. 



INDEX TO SHAKSPERE'S WORKS. HI 

Equinox, storms at the vernal, Macbeth, i. 2, " As whence the 
sun," etc. 

Equinox (opposite, counterpart), Othello, ii. 3. 

Equipage (slang for stolen goods), Merry Wives of Windsor, 
ii. 2. 

Equivocator, here's an, Macbeth, ii. 3. Supposed allusion to 
the doctrine of equivocation, as professed by the Superior of the 
Jesuits, on trial for complicity in the gunpowder plot, in 1606. 

Ercles (Hercules), Midsummer-Night's Dream, i. 2. 

Erebus (the passage to Hades), Merchant of Venice, v. 1 ; Julius 
Cmsar, ii. 1. 

Eringo, the (held to be an aphrodisiac), Merry Wives of Wind- 
sor, v. 5. 

Eros, friend of Antony, introduced in Hi. 5 of Antony and Cleo- 
patra. In iv. 12 or 14 he kills himself rather than be the instru- 
ment of Antony's death. 

Erpingham, Sir Thomas, mentioned, Richard II, ii. 1. 

Erpingham, Sir Thomas, character in Henry V., first appears 
in iv. 1, an old man, treated with great reverence by the king. It 
was he who set the English army in order for battle at Agincourt, 
and gave the signal for the attack by throwing his truncheon in the 
air, calling, " Now strike ! " He built the Erpingham Gate at Nor- 
wich. He was a Lollard. The first mention of him is in Richard 
II, ii. 1, where he is mentioned among the companions of Boling- 
broke. 

Error, melancholy's child, Julius Cmsar, v. 3 ; translated to truth, 
Sonnet xcvi ; unavoidable, A Winter's Tale, i. 2; popular, King 
Lear, iv. 1. 

Errors, of men. See Faults. 

Escalus, an ancient lord, character in Measure for Measure, in- 
troduced in the first scene. He is wise, moderate, and merciful in 
his unregarded counsel to Angelo. 

Escalus, Prince of Verona, character in Romeo and Juliet, intro- 
duced in i. 1, where he appears in the scene of the quarrel and dis- 
perses the combatants, and in Hi. 1 banishes Romeo. 

Escanes, a lord of Tyre, in Pericles, introduced in i. 3. 

Escapes, hair-breadth, Othello, i. 3. 

Escoted (paid), Hamlet, ii. 2. 

Esher House, or Asher House, residence of the bishops of Win- 
chester, once occupied by Cardinal Wolsey, who is ordered to retire 
to it in Henry VIII, Hi. 2. Esher is in Surrey, southwest of London, 



112 INDEX TO SHAKSPERE'S WORKS. 

on the river Mole. An old Gothic building on Esher Place, with a 
castellated gateway, is known as " Wolsey's Tower." It was tenanted, 
but not built by the cardinal, and is said to have been erected by a 
bishop of Winchester nearly a century before Wolsey's time. 

Esill (or eisel), Hamlet, v, i. A word not understood ; by some 
supposed to be the river Yesel, by others vinegar. 

Esperance (hope), I. Henry IV., %i. 3; King Lear, iv. 1, and 
elsewhere. It was the motto of the Percys. 

Essex, Countess of. See Maidenhood. 

Essex, Geoffrey Fitz-Peter, Earl of, a character in King John, 
introduced in the first scene. 

Essex, Robert Devereaux, Earl of, allusion to his expedition to 
Ireland, Henry V., v., prologue. He was sent over in April, 1599, to 
suppress Tyrone's rebellion. For his conduct of the war, and the 
terms on which he made peace, he was tried and dismissed from all 
offices. Pie formed a conspiracy to force his way to the queen's 
presence and remove his enemies oy force of arms, for which he was 
tried and condemned for high treason, and executed February 25, 
1601. This passage was written, of course, during the summer, before 
his failure in Ireland. 

Estate (bestow), The Tempest, iv. 1 ; dispute his own (debate 
about his property), A Winter's Tale, iv. 3 or 4' 

Estimate, is the worth in the, Troilus and Cressida, ii. 2. 

Estimation (conjecture), J". Henry 1 V., i. 3. 

Estridges (ostriches), I. Henry I V„ iv. 1 ; Ant. and Cleo., Hi. 13. 

Et bonum, etc., the older the better, Pericles, i., prologue. 

Ethiop, a swarthy, Two Gentlemen of Verona, ii. 6 ; jewels of 
an, Romeo and Juliet, i. 5. 

Et tu, Erute ? Julius Ccesar, Hi., and thou, too, Brutus ? There 
is no record that Caesar uttered these words ; but Suetonius, who wrote 
about one hundred and seventy-five years later, has it that tradition 
reported him as saying in Greek, " Thou too, my son ? " 

Euphoniu.3, character in Antony and Cleopatra, introduced in 
Hi. 10 or 12, where he is called Antony's schoolmaster. 

Euphuisms, Hamlet, v. 2, speech of Osric ; Love's Labour's Lost. 

Europa, daughter of Agenor, Taming of the Shrew, i. 1 ; Merry 
Wives of Windsor, v. 5 ; Much Ado about Nothing, v. 4. 

Evans, Sir Hugh, a Welsh parson and schoolmaster, character 
in the Merry Wives of Windsor, introduced in the first scene. " The 
title Sir was applied to the inferior clergy ; such as had it were not 
graduates at the university, being in orders, not in degrees." His 



INDEX TO SHAKSPERE'S WORKS. 113 

bad English and his simplicity, which is not without a touch of 
shrewdness, make him a very amusing character. He is challenged 
by Doctor Caius, and prepares to meet him, in a very funny scene, 
the first of Act III. 

Evasion, I. Henry IV, ii. 4; iv. 1 ; exhausted, AWs Well that 
Ends Well, ii. 2; Falstaff's, with the chief justice, II. Henry IV., 
i. 2 ; ii. 4, " 1 dispraised him before the wicked," etc. 

Eve, Richard II, Hi. 4 ; the legacy of, Two Gentlemen of Ve- 
rona. Hi. 1 ; our grandmother, Love's Labour's Lost, i. 1. 

Even-Christian (fellow-Christian), Hamlet, v. 1. 

Evening, Venus and Adonis, I. 529 ; Macbeth, Hi. 2, 3. 

Evidence, circumstantial, Cymbeline, ii. 2, 4. 

Evil, to allow, is to order, Measure for Measure, 1. 4 ', the beau- 
teous, Twelfth Night, Hi. 4; the sight of means for, King John, iv. 
2 ; some soul of goodness in, Henry V., iv. 1 ; lives in brass, Henry 
VIII, iv. 2 ; doing, for good, Troilus and Cressida, v. 3 ; some good 
in, Romeo and Juliet, ii. 3, " Nought is so vile," etc. ; none wholly 
free from, Othello, Hi. 3 ; playing with, Othello, iv. 1 ; mending evil 
by, Othello, iv. 3, end; that men do lives after them, Julius Caisar, 
Hi. 2 ; attributed to a divine thrusting on, King Lear, i. 2. 

Evils, of age and hunger, As You Like It, ii. 7 ; worst before 
departure. King John, Hi. 4 ; of the age, Sonnet Ixvi. 

Examination, an, Hamlet, Hi. 4; of Prince Hal. I. Henry IV., 
ii. 4. 

Example, of our virtues, Measure for Measure, i. 1; power- 
lessness of, AWs Well that Ends Well, Hi. 3 ; and precept, Hamlet, 
i. 3, " Do not, as some ungracious pastors," etc. ; of vice, Measure for 
Measure, ii. 2. 

Excellence, modesty a witness of. Much Ado about Nothing, 
ii. 3 ; attributed, Tempest, Hi. 1 ; Cymbeline, v. 5. 

Except before excepted (an unmeaning use of a law-term), 
Twelfth Night, i. 3. 

Excess, Measure for Measure, i. 3, " From too much liberty," 
etc. ; Midsummer-Night's Dream, ii. 3, " A surfeit of the sweetest 
things," etc. ; in ornamentation, King John, iv. 2; advice concern- 
ing, Richard II, ii. 1 ; Henry VIII, i. 1, Norfolk to Buckingham ; 
Romeo and Juliet, ii. 6; Hi. 3 ; consequences of, King Lear, iv. 
1, near end ; allow not nature more than nature needs, King Lear, 
ii. 4. 

Exclamations. See Oaths and Exclamations. 

Excommunication, King John, Hi. 1. 



114 INDEX TO SHAKSPERE'S WORKS. 

Excuses, often make faults worse, King John, iv. 2. 

Executioner, Measure for Measure, iv. 2 ; the common, As You 
Like It, Hi. 5. 

Exempt (separated), Comedy of Errors, ii. 2. 

Exeter, Thomas Beaufort, Duke of, character in Henry V., en- 
tering in i. 2, and in /. Henry VI, entering in the first scene. He 
was uncle of Henry V., and was appointed governor of Henry VI. 
after his father's death. He was Earl of Dorset only, and not Duke 
of Exeter, until after Agincourt, and was not present at that battle, 
being at that time Governor of Harfleur, Hi. 3, where he displayed 
great prowess in defending the place in two attacks by the French. 
He died in 1427, 

Exeter, Henry Holland, Duke of, character in III. Henry VI, 
introduced in i. 1. He was a son of the Earl of Huntingdon, men- 
tioned in Henry V., v. 2, was a faithful Lancastrian, and served at 
the battles of Wakefield, Towton, and Barnet. He was attainted in 
1461 under Edward IV., and became so poor that Commines saw 
him, as he says (Memoirs, Hi. 4), begging for bread. He was found 
dead in the Straits of Dover in 1473. 

Exeter, Peter Courtenay, Bishop of, mentioned in Richard III, 
iv. 4. 

Exeter, castle at, Richard III, iv. 2. Built in the time of Will- 
iam I., destroyed in the Civil War. 

Exhalations (meteors or flashes of lightning), Henry VIII., Hi. 
2 ; Julius Co3sar, ii. 1. 

Exhibition (allowance of money, still used for pensions allowed 
to scholars in English colleges). Two Gentlemen of Verona, i. 3 ; 
King Lear, i. 2 ; Othello, i. 3. 

Exile, As You Like It, ii. 1 ; a speechless death, Richard II, i. 
3; worse than death, Romeo and Juliet, Hi. 3. See Banishment. 

Exorcisms (summoning spirits), II. Henry VI, i. 4- Exorciser 
and exorcist used in a like sense, All's Well that Ends Well, v. 3 ; 
Julius Cmsar, ii. 1; Cymbeline, iv. 2. 

Expectation, mistaken, AIVs Well that Ends Well, ii. 1; of 
evil, disappointed, I. Henry IV., i. 2, end; to a child, Romeo and 
Juliet, Hi. 2 ; in war-time, Troilus and Cressida, prologue ; Othello, 
ii. 1. 

Expedience (expedition), Antony and Cleopatra, i. 2. 

Expedient (expeditious), King John, ii. 1. 

Experience, achieved by industry, Two Gentlemen of Verona, 
i. 3 ; a jewel, Merry Wives of Windsor, ii. 2 ; want of, Romeo and 



INDEX TO SHAKSPERE'S WORKS. 115 

Juliet, ii. 2, " He jests at scars," etc. ; must be schoolmaster to the 
wilful, King Lear, ii. 4 ; learning by others'. Lover's Complaint, I. 
155. 

Experiments, deep, I. Henry IV., Hi. 1. 

Expiate (expired, or, to end), Richard III, Hi. 3 ; Sonnet xxii. 

Explosion, a threatened, Hamlet, Hi. 4- 

Expression, in the whole body, Troilus and Cressida, iv. 5, 
" There's a language," etc. See Faces, Language, Words. 

Expulsed (expelled), i". Henry VI, Hi. 3. 

Exsufflicate (swollen), Othello, Hi. 3. 

Extended, extent (seized, attachment, a law-term), As You Like 
It, Hi. 1 ; Antony and Cleopatra, i. 2. 

Extenuation, begged for youthful errors, 1. Henry IV., Hi. 2 ; 
intention of, disclaimed, Othello, v. 2. 

Extirped (extirpated), 1. Henry VI, Hi. 3. 

Exton, Sir Pierce of, character in Richard II, first appears in 
v. 4; murders Richard, v. 5 ; and is condemned for it by Henry, v. 
6. Some historians are of opinion that Richard was starved to death 
in captivity, others that he starved himself in grief, though many 
follow the story as Shakspere has it. Henry IV. executed several 
who said that Richard had escaped. A remarkable resemblance be- 
tween him and his chaplain, Mandelain, led some to believe that it 
was the chaplain who suffered death and whose body was shown. 

Extravagance, Timon of Athens, ii. 1, 2. 

Extravagant (wandering), Othello, i. 1. 

Extremes, As You Like It, iv. 1. 

Eyas, or eyas-musket (a young hawk), Merry Wives of Windsor, 
Hi. 3. 

Eye(s), a blue and sunken, As You Like It, iii.2 ; blueness about 
the eyes was thought a sign of being in love ; all senses locked in 
the, Love's Labour's Lost, ii. 1, near the end ; a still-soliciting, King 
Lear, i. 1 ; the evil eye, referred to in the word " o'erlook," which 
means to cast the evil eye upon, in Merry Wives of Windsor, v. 5 ; 
Merchant of Venice, Hi. 2; like Mars, Hamlet, Hi. 2; doth not 
behold itself, Troilus and Cressida, Hi. 3 ; spies, The Tempest, v. 1 ; 
coward gates of, As You Like It, Hi. 5 ; woman's, Love's Labour's 
Lost, iv. 3 ; crystal, Two Gentlemen of Verona, ii. 4; to be put out, 
King John, iv. 1 ; King Lear, Hi. 7 ; praise of, Romeo and Juliet, 
ii. 2 ; green (hazel), Romeo and Juliet, Hi. 5, the nurse's speech ; 
closing in death, Antony and Cleopatra, v. 2; blue, Venus and 
Adonis, I. 48I ; like the moon in water, Venus and Adonis, I. 491 ; 
11 



116 INDEX TO SHAKSPERE'S WORKS. 

darkened, Venus and Adonis, I. 1037 ; beauty of, Sonnet xvii.; 
hearing with, Sonnet xxiii. ; the painter, Sonnet xxiv. ; dark, Son- 
nets cxxvii., cxxxii. ; in distraction, Lover's Complaint, I. 22. 

Eyebrows, ladies', A Winter's Tale, ii. 1. 

Eyelids, fringed curtains, The Tempest, i. 2 ; advanced, The 
t, iv. 1. 



Fabian, a witty fellow, servant in the house of Olivia, in Twelfth 
Night, introduced in ii. 5. 

Fable, of the fox and the grapes, AWs Well that Ends Well, 
ii. 1 ; of the belly and the other members, Coriolanus, i. 1. 

Face (to pretend), I. Henry VI, v. 3. 

Face(s), jest on a, Love's Labour's Lost, v. 2, " A cittern head,*' 
etc. ; was this the, Richard II., iv. 1 ; a red, I. Henry IV., Hi. 3 ; a 
royal, II. Henry IV., i. 2 ; commanding, Coriolanus, iv. 5 ; of Paris, 
Romeo and Juliet, i. 3 ; no art to read the mind in, like a book, Mac- 
beth, i. 4, 5 ; round, are foolish, Antony and Cleopatra, Hi. 3 ; ex- 
pression of, Sonnets xciii., xciv ; of men and of women, Antony and 
Cleopatra, ii. 6 ; judgment of, Othello, Hi. 3 ; pleasant, Pericles, i. 1. 

Facinorous (atrocious), All's Well that Ends Well, ii. 3. 

Fact, those of your (of the same deed as you), A Winter's Tale, 
Hi. 2. 

Factions, cause weakness, Troilus and Cressida, i. 3. 

Faculties, use of, Measure for Measure, i. 1, " Heaven doth with 
us," etc. ; Hamlet, iv. 4, " What is a man," etc. ; Othello, i. 3, " Our 
bodies are our gardens," etc. 

Fadge (to fit, or be suitable), Love's Labour's Lost, v. 1 ; Twelfth 
Night, ii. 2. 

Fadings. See Dildos. 

Failure, the result of striving for better than well, King John, 
iv. 2 ; of a soldier to prosper in time of peace, Coriolanus, iv. 7 ; pos- 
sible, Macbeth, i. 7. 

Fair, was the morn, Passionate Pilgrim, vii. ; is my love, ix. 

Fairies, forms assumed by, and pranks of, The Tempest, i. 2 ; 
ii. 2 ; v. 1 ; Midsummer-Night's Dream, ii. 1 ; Romeo and Juliet, i. 
4; offices of, The Tempest, v. 1; rings made by the dances of, The 
Tempest, v. 1 ; see Ringlets ; superstitions regarding, Merry Wives 
of Windsor, iv. 4 ; a personation of, Merry Wives of Windsor, iv. 4, 
5 ; death the penalty of speaking to, Merry Wives of Windsor, v. 5 ; 
land of, Comedy of Errors, ii. 2 ; malevolent, Comedy of Errors, iv. 
2 ; introduced as characters in the Midsummer- Night's Dream ; lore 



INDEX TO SHAKSPERE'S WORKS. 117 

of, Midsummer-Night's Dream, ii. 1 ; swiftness of — offices of, Mid- 
summer-Night's Dream, Hi. 1; gold of, A Winter's Tale, Hi. 3; 
changelings of, 1. Henry IV., i. 1 ; description of Queen Mab — her 
chariot, Romeo and Juliet, i. 4 ; allusion to their office in keeping 
away worms from the dead, Cymbeline, iv. 2 ; Midsummer-Night's 
Dream, ii. 2. 

Faith, plural, in love, Two Gentlemen of Verona, v. 4 ; a charm 
against witchcraft, Comedy of Errors, Hi. 2 ; worn as the fashion, 
Much Ado about Nothing, i. 1 ; speaks from need, not from faith, 
King John, Hi. 1 ; want of, see Friends, Lovers, Treachery. 

Faitours (traitors), II. Henry IV., ii. 4. 

Falconry, or hawking, allusions to, sometimes called birding, 
Merry Wives of Windsor, Hi. 3, 5 ; iv. 2 ; the staniel (kestrel-hawk), 
Twelfth Night, ii. 5 ; the tercel-gentle or tassel-gentle, Romeo and 
Juliet, ii. 1; this is a male goss-hawk, which is gentle and easily 
tamed; the gentle astringer (hawk-tamer), All's Well that Ends 
Well, v. i ; the falcon's bells, As You Like It, Hi. 3 ; III. Henry VI., 
i. 1 ; Lucrece, I. 511 ; jesses (straps on the falcon's legs by which it 
was held), Othello, Hi. 3 ; hood my unmanned blood, Romeo and Ju- 
liet, Hi. 2 ; an unmanned hawk, one not used to man, was hooded to 
prevent fright ; haggards (wild hawks), Much Ado about Nothing, 
Hi. 1, end; Twelfth Night, Hi. 1; Othello, Hi. 3; a hooded valour, 
Henry V., Hi. 7 ; to check (start away from the lure), Twelfth Night, 
Hi. 1 ; Hamlet, iv. 7 ; the method of taming hawks, Taming of the 
Shrew, iv. 1 ; to seel up the eyes, as was done to the hawk in train- 
ing by sewing the eyelids up, 11. Henry IV., Hi. 1 ; Macbeth, Hi. 2 ; 
Othello, i. 3 ; Hi. 3; imp, Richard II., ii. 1 ; to imp a hawk was to 
mend broken feathers by grafting or piecing them out ; mailed up 
(wrapped), 11. Henry VI., ii. 4 ; mew up or emmew, Measure for 
Measure, Hi. 1 ; Taming of the Shrew, i. 1 ; Romeo and Juliet, Hi. 
4 ; to tower, II. Henry VI, ii. 1 ; Macbeth, ii. 4 ; Lucrece, I. 506 ; 
baiting (fluttering), Romeo and Juliet, Hi. 2 ; to tire (feed raven- 
ously), 111. Henry VI, i. 1 ; Timon of Athens, Hi. 6 ; Cymbeline, 
Hi. 4 ; disedged (satiated), Cymbeline, Hi. 4 >' whistle her off and let 
her down the wind, Othello, Hi. 3 ; will coast (hover about) my crown, 
III. Henry VI, i. 1; quarry, Coriolanus, i. 1; Macbeth, iv. 3; 
Hamlet, v. 2. 

Fall (let fall), Comedy of Errors, ii. 2, and elsewhere. 

Fall, of Caesar, the, Julius Caisar, Hi. 2, Antony's speech ; of 
Percy, I. Henry IV., v. 4; of a queen, Richard HI., iv.4,' of a king, 
Richard II, Hi. 2; of man, Henry V., ii. 2; of Wolsey, Henry 



118 INDEX TO SHAKSPERE'S WORKS. 

VIII., Hi. 2 ; of the great, Macbeth, ii. 4; Antony and Cleopatra, 
Hi. 10 ; iv. 10, 13. 

Falling, the, cruelty to, Henry VI11., Hi. 2 ; v. 2. 

Falling-sickness. See Epilepsy, under Diseases. 

Falsehood, caused by trust, The Tempest, i. 2; hated by women, 
Two Gentlemen of Verona, Hi. 2 ; in love, Two Gentlemen of Verona, 
iv. 2 ; goodly outside of, Merchant of Venice, i. 1 ; cures falsehood, 
King John, Hi. 1 ; hidden, Richard III., H. 1 ; Cressida a name 
for, Troilus and Cressida, Hi. 2 ; of Diomed, Troilus and Cres- 
sida, v. 1. 

Falsity, of women, A Winter's Tale, i. 2, " Were they as false 
as o'er dyed blacks." 

FalstafF, Sir John, appears in the two parts of Henry 1 V. and 
the Merry Wives of Windsor. He is the leader of the dissolute band 
that surround the Prince of Wales. In I. Henry IV. he first ap- 
pears in *'. 2. This scene and ii. 4 are full of bantering epithets and 
allusions to his size, directed against him by his companions. His 
adventure at Gadshill, ii. 2 ; takes the character of Henry IV., ii. 4; 
his account of his soldiers, iv. 2 ; he counterfeits death at the battle of 
Shrewsbury, v. 4> In the Merry Wives of Windsor he is introduced 
in the first scene. His character in this play appears much more de- 
graded than in Henry IV. The time is probably shortly before the 
death of the king. His wit, or at least his shrewdness, seems to have 
deserted him, and he is outwitted by simple people whom he despises. 
Gervinus, who finds a moral design in everything, thinks that Shak- 
spere exhibited the deterioration of his character, and threw it into 
contrast with the ennoblement of the prince's, to show his essential 
baseness, and do away with whatever bad impression may have been 
made by the glamour that his wit throws over his moral qualities. 
However that may be, the reader is prepared by this play for the dis- 
grace that overtakes him, which otherwise would seem cruel and 
not altogether deserved. His hypocrisy and inconsistency, ii. 1; 
ridicule of his size, ii. 1; Hi. 5; iv. 4, 5 ; his honour, ii. 2 ; epithets 
applied to him, i. 3 ; Hi. 1; v. 5 ; his adventure in the buck-basket, 
Hi. 3 ; in a woman's clothes, iv. 2 ; at Heme's oak with the fairies, 
v. 5. See Merry Wives of Windsor. He is introduced in II. Hen- 
ry IV., in *'. 2, where he talks with the chief justice ; arrested at the 
instance of Mrs. Quickly, ii. 1 ; overheard by the prince in disguise, 
ii. 4 ; ridiculed, ii. 2, 4 ; iv. 3 ; his recruits for the army, Hi. 2 ; his 
expectations from the prince, v. 3; disappointed, v. 5; banished 
from the prince, v. 5. His death is described by Mrs. Quickly in 



INDEX TO SHAKSPERE'S WORKS. 119 

Henry V., ii. 3, and he is spoken of by Fluellen in iv. 7 of the same 
play. The name of this character was at first Sir John Oldcas- 
tle, q. v. 

" Falstaff, not a degraded man of genius, like Burns, but a man 
of degraded genius, with the same consciousness of superiority to his 
companions [as Iago and Eichard III.], fastened himself on a young 
prince, to prove how much his influence on an heir-apparent would 
exceed that of a statesman. With this view he hesitated not to adopt 
the most contemptible of all characters, that of an open and professed 
liar ; even his sensuality was subservient to his intellect : for he ap- 
peared to drink sack that he might have occasion to show off his wit. 
One thing, however, worthy of observation, is the perpetual contrast 
of labour in Falstaff to produce wit with the ease with which Prince 
Henry parries his shafts ; and the final contempt which such a char- 
acter deserves and receives from the young king, when Falstaff ex- 
hibits the struggle of inward determination with an outward show of 
humility." — Coleridge. 

Fame, all men hunt after, Love's Labour's Lost, i. 1; antici- 
pated, Henry V., iv. 3 ; living in, Richard III., Hi. 1 ; of heroes, 
Troilus and Cressida, ii. 2, end; best gained in second place, Corio- 
lanus, i. 1, end; fold in this orb, Coriolanus, v. 6 ; of good and evil 
deeds, Julius Cmsar, Hi. 2 ; danger of acquiring too high a, Antony 
and Cleopatra, Hi. 1 ; undying, Measure for Measare, v. 1 ; Richard 
III., Hi. 1 ; brevity of, Much Ado about Nothing, v. 2 ; effect of, 
Troilus and Cressida, i. 3 ; I. Henry IV., v. 4j Henry VIII., iv., 2 ; 
would be exchanged for a pot of ale, Henry V, Hi. 2. 

Familiarity, with an inferior, Comedy of Errors, ii. 2 ; too 
great, Hamlet, i. 3. 

Family pride, of Sly, Taming of the Shrew, induction, 1. 

Famine, Pericles, i. 4 ; makes valiant, Cymbeline, Hi. 6. 

Fancies, the humour of forty, stuck for a feather in an old hat, 
Taming of the Shrew, Hi. 2. 

Fancy, where bred, Merchant of Venice, Hi. 2, song ; sweet and 
bitter, As You Like It, iv. 3 ; (love) followers of, Midsummer-Night's 
Dream, i. 1 ; full of shapes, Twelfth Night, i. 1 ; nature wants stuff 
to vie with, Antony and Cleopatra, v. 2 ; every one to his own, All's 
Well that Ends Well, iv. 1. 

Fancy-free, Midsummer-Night's Dream, ii. 2. 

Fang, one of the sheriff's officers in II. Henry IV., who appears 
in ii. 1. 

Fangled (capricious), Cymbeline, v. 4. 

Fap (tipsy), Meriy Wives of Windsor, i. 1. 

Farewell(s), to greatness, Henry VIII., Hi. 2; Troilus and 



120 INDEX TO SHAKSPERE'S WORKS. 

Cressida, iv. 4 ; an everlasting, Julius Caisar, v. 1 ; Antony and 
Cleopatra, Hi. 2 ; Sonnet Ixxxvii. See Parting. 

Farmer, the, that hanged himself, Macbeth, ii. 3. 

Farthingale, Two Gentlemen of Verona, ii. 7 ; Merry Wives of 
Windsor, Hi. 3 ; Taming of the Shrew, iv. 3. 

Fashion, wears out more apparel than the man — a deformed 
thief, Much Ado about Nothing, Hi. 3; infected with, Taming of 
the Shrew, Hi. 2; following the, AW s Well that Ends Well, ii. 1; 
from Italy, Richard II., ii. 1, common in Shakspere's time but not 
at time of the play; of France, Henry VIII, i. 3; behind the, 
Julius Caisar, iv. 1, Antony speaking on Lepidus ; the glass of, 
Hamlet, Hi. 1; in speech, Hamlet, v. 2 ; garments out of, Cymbeline, 
Hi. 4>' less without, and more within, a new, Cymbeline, v. 1. 

Fast and Loose, Antony and Cleopatra, iv. 10 or 12, a game 
played by gypsies. A belt was folded and knotted up and placed on 
a table, and the victim made a wager that he could hold it fast to 
the table ; he would then place a skewer through what seemed to be 
the central fold, when the gypsy would take hold of the two ends 
and pull it away. 

Fastidiousness, the extreme of, I. Henry IV., i. 3, Hotspur's 
description. 

Fasting, oath concerning, Love's Labour's Lost, i. 1 ; effect of, 
on the disposition, Coriolanus, v. 1. 

Fastolfe, Sir John, character in I. Henry VI. He was lieuten- 
ant-general to Bedford in Normandy, and deputy regent. His cow- 
ardice at the siege of Orleans is spoken of in i. 1, and Talbot exe- 
crates him in i. 4. He first appears in Hi. 2, and is deprived of the 
garter and banished in iv. 1. He died in 1469. 

Fat, to be, to be hated, I. Henry I V., ii. 4 ; men, Merry Wives 
of Windsor, ii. 1 ; men, not dangerous, Julius Caisar, i. 2 ; woman, 
description of a, Comedy of Errors, Hi. 2. 

Fatality, Measure for Measure, " The words of heaven," etc. ; 
Hamlet, v. 2, " There's a divinity," etc. ; King Lear, i. 2, " This is 
the excellent foppery," etc. See also Free Will. 

Fate, The Tempest, Hi. 3 ; no escape from, Love's Labour's Lost, 
iv. 3, " The sea will ebb," etc. ; malignancy of, Twelfth Night, ii. 1 ; 
the book of, II. Henry IV., Hi. 1 ; no resisting, III. Henry VI, iv. 
3 ; men masters of their, Julius Caisar, i. 2 ; unavoidable, Julius 
Ccesar, ii. 2 ; Othello, v. 2 ; Hamlet, Hi. 2 ; v. 2 ; in an auger-hole, 
Macbeth, ii. 3 ; challenge to, Macbeth, Hi. 1; makes desperate, Ham- 
let, i. 4 ; bewailing one's, Sonnet xxix. 



INDEX TO SHAKSPERE'S WORKS. 121 

Father, praise by a, The Tempest, iv. 1 ; an angry, Two Gentle- 
men of Verona, Hi. 1; shame of a, Much Ado about Nothing, iv. 1; 
that knows his child, Merchant of Venice, ii. 2 ; right of a, Midsum- 
mer-Night's Dream, i. 1 ; at his son's nuptial, A Winter's Tale, iv. 

3 ; anger of a, A Waiters Tale, iv. 4; vote of, against a son, Rich- 
ard II., i. 3 ; judgment on a, 1. Henry I V., Hi. 2 ; desperation of a, 
II. Henry IV., i. 1; cares of a, II. Henry IV., iv. 4; grief of a, 
Titus Andronicus, Hi. 1 ; anger of a, King Lear, i. 1 ; in rags, King 
Lear, ii. 4 ; who would be a, Othello, i. 1 ; an infirm, Sonnet xxxvii ; 
duty to a, and to a husband, Othello, i. 3. 

Fauconberg, mentioned, Henry V., Hi. 5 ; iv. 8. 

Faulconbridge, an English baron, one of the suitors of Portia, 
mentioned in Merchant of Venice, i. 2. 

Faulconbridge, Philip, half-brother of Robert F., in King John, 
and natural son of Richard L, enters in the first scene. His name is 
changed by John to Richard Plantagenet. He is cynical, coarse, and 
skeptical in conversation, but brave, straightforward, and patriotic 
in action. He revolts at the murder of Arthur, iv. 3, but will not on 
that account turn against his country as Salisbury does. 

Faulconbridge, Robert, son of Sir Robert Faulconbridge, char- 
acter in King John, first appears in i. 1. 

Faulconbridge, Lady, character in King John, introduced in 
the first scene. 

Faulconbridge, William Neville, Lord, mentioned in the third 
part of King Henry VI. 

Fault, sometimes used for misfortune. 

Fault(s), condemn the, Measure for Measure, ii. 2 ; best mould- 
ed out of, Measure for Measure, v. 1; hearing one's, Much Ado about 
Nothing, ii. 3 ; excuses make worse, King John, iv. 2 ; turned to 
good, II. Henry IV., i. 2, "I will turn diseases to commodity"; of 
the rich, Timon of Athens, i. 2 ; one, Hamlet, i. 4 ; truth about, 
Antony and Chopatra, i. 2 ; made glaring by virtues, Antony and 
Cleopatra, i. 4; punishment of, Cymbeline, v. 1, "You snatch some 
hence," etc. ; all men make, Sonnet xxxv. ; made graces, Sonnet xevi ; 
his worst is, that he is given to prayer, Merry Wives of Windsor, 
i. 4 >' abundance of, As You Like If, Hi. 2 ; of men, Much Ado about 
Nothing, iv. 1 ; Coriolanus, i. 1 ; a headstrong, Twelfth Night, Hi. 

4 ; a man is the abstract of all, Antony and Cleopatra, i. 4. 

Fauste, precor, etc. (Faustus, I pray when the herd chews the 
cud in the cool shade), Love's Labour's Lost, iv. 2. A quotation 
from Battista Spagnolus, of Mantua. 



INDEX TO SHAKSPERE'S WORKS. 

Faustus, Dr., Merry Wives of Windsor, iv. 5. 

Favour, of the great, Richard III., Hi. 4 ,' Cymbeline, v. 4* 

Favour, defeat thy (disguise thy face), Othello, i. 3. 

Favourites, that abuse their privilege, II. Henry IV., iv. 2; 
Much Ado about Nothing, Hi. 1. 

Fawning, Julius Ccesar, i. 2 ; iii.l; Richard II, ii. 3 ; " Grace 
me no grace," etc. 

Fay (faith), Hamlet, ii. 2. 

Fear (to frighten), Taming of the Shrew, i. 2, and elsewhere. 

Fear, gives the foe strength, Richard II, Hi. 2 ; this living, 
Richard II, v. 4 ; not spoken of in Scotland, I Henry IV., iv. 1 ; 
of death, Julius Ccesar, ii.2 ; Hamlet, i. 4,' impostors to true, Mac- 
beth, in. 4 ; pale-hearted, Macbeth, iv. 1; v. 3 ; expression of, Cym- 
beline, Hi. 4 ,' extreme, Lucrece, I. 230; most accursed of all base 
passions, 7. Henry VI, v. 2 ; a sin in war, Cymbeline, v. 3 ; leads 
to hate, Antony and Cleopatra, i. 3 ; led by reason, Troilus and 
Cressida, Hi. 2. 

Fear no more the heat of the sun, song, Cymbeline, iv. 2. 

Fears, of a woman, King John, Hi. 1 ; make devils of cherubins, 
Troilus and Cressida, Hi. 2 ; make traitors, Macbeth, iv. 2 ; taste of, 
forgotten, Macbeth, v. 5. 

Feast(s), beginning of, suits a keen guest, I. Henry IV., iv. 2 ; 
to false friends a, Timon of Athens, Hi. 6 ; must be given with wel- 
come, Macbeth, Hi. 4 /. a good man's, As You Like It, v. 1 ; sheep- 
shearing, A Winter's Tale, iv. 4 ; Capulet's, Romeo and Juliet, i. 2. 

Feated (moulded), Cymbeline, i. 1. 

Feather, life tested by a, King Lear, v. 3 ; II. Henry IV., iv. 4. 

Federary (confederate), A Winter's Tale, ii. 1. 

Feeble, a recruit in II. Henry IV., appears in Hi. 2. 

Feeders (dependents), Antony and Cleopatra, Hi. 11 or 13. 

Feeding (pasture tract), A Winter's Tale, iv. 3 or 4. 

Feint, a, Othello, i. 3. 

Fellow-feeling, Merry Wives of Windsor, ii. 2, " Sir, I hear," 
etc. ; Measure for Measure, ii. 2 ; Hi. 2. 

Fencing, allusions to, and terms of, Merry Wives of Windsor, i. 
1; H. 3 ; Hi. 2 ; Love's Labour's Lost, i. 2 ; v. 1; description of, 
Hamlet, iv. 7 or 4. " Feney " or " venue " and " staccato " signify a 
quick, sharp stroke ; " montant " or " montanto," an upward thrust ; 
*' punto reverso," a backward, and " passado," a forward thrust. 

Fennel, II Henry IV, ii. 4 ; Hamlet, iv. 5. Fennel was hot, 
and therefore deemed exciting ; it was also emblematic of a flatterer. 



INDEX TO SHAKSPERE'S WORKS. 123 

Fenton, a gentleman in the Merry Wives of Windsor, a suitor 
and afterward the husband of Anne Page. He has formerly been 
one of the prince's roguish companions, but through the influence of 
Anne Page, whom he at first seeks for her money, his character is 
transformed. He first appears in i. 4> 

Feodary (companion), Measure for Measure, ii. 4 ; Cymbeline, 
Hi. 2. 

Ferdinand, son of the King of Naples in The Tempest, intro- 
duced in i. 2, and the lover of Miranda. 

Ferdinand, King of Navarre, character in Love's Labour's Lost, 
introduced in the first scene. He has set up a " little Academe," a 
school of culture for himself and three companions. That fcr women 
in Tennyson's " Princess " is somewhat after the same plan. 

Fere (mate), Titus Andronicus, iv. 1 ; Pericles, i., prologue. 

Fern-seed, I. Henry I V., ii. 1. It was supposed to render one 
invisible. 

Ferrers, Walter, Lord, his death, Richard III., v. 5. 

Feste, the fool in Twelfth Night, introduced in *. 5, one of 
Shakspere's airiest and most delicate clowns. 

Festinate, -ly (speedy, speedily), Love's Labour's Lost, Hi. 1; 
King Lear, Hi. 1. 

Festival, a Roman" Julius Caesar, i. 2. 

Fet (fetched), Henry V., Hi. 1. 

Fettle (prepare), Romeo and Juliet, Hi. 5. 

Feuds, between Somerset and Plantagenet, I. Henry VI, ii. 4 >' 
between their adherents, Hi. 4 ; iv. 1, 3 ; between Gloucester and 
Winchester, I. Henry VI., i. 3 ; Hi. 1 ; v. 1 ; II. Henry VI., i. 1 ; 
ii. 1; between Wolsey and Buckingham, Henry VIII., i. 1; of 
Montague and Capulet, Romeo and Juliet, i. 1, 5 ; Hi. 1 ; v. 3. 

Fever, a fit of madness, Comedy of Errors, v. 1 ; sensations of, 
King John, v. 7. 

Fewness (few words), Measure for Measure, i. 5. 

Fickleness, Two Gentlemen of Verona, ii.4; Twelfth Night, ii. 
4. See Inconstancy. 

Fico (fig), Merry Wives of Windsor, i. 3 ; Henry V., Hi. 6. 

Fidelity. See Constancy, Faith, Loyalty. 

Fie on sinful fantasy, song, Merry Wives of Windsor, v. 5. 

Field of the Cloth of Gold, expense of, Henry VIII, i. 1. 

Fiend(s), temptations of, Merchant of Venice, ii. 2 ; summoned 
by Joan, /. Henry VI, v. 3 ; lies like truth, Macbeth, v. 5 ; descrip- 
tion of a, King Lear, iv. 6. See Mahu. 



124: INDEX TO SHAKSPERE'S WORKS. 

Fife, the wry-necked, Merchant of Venice, ii. 5. 

Fife, in Scotland, scene of a part of Macbeth. Macduff was 
Thane of Fife. 

Fife, Mordake, Earl of, spoken of in I. Henry IV, i. 1, as son 
of Douglas, was son of the Duke of Albany. The mistake was occa- 
sioned by an ambiguity in Holinshed, caused by defective punctua- 
tion. 

Fifteens (fifteenths of the personal property), one-and-twenty, 
II. Henry VI., iv. 7. 

Fighting, by book, Romeo and Juliet, Hi. 1. 

Fights (pieces of cloth hung around a ship to keep men out of 
sight during an engagement), Merry Wives of Windsor, ii. 2. 

Fights, As You Like It, i. 1; Twelfth Night, iv. 1; v. 1; Troi- 
his and Cressida, iv. 5. 

Filberts, The Tempest, ii. 2. 

File (number), Measure for Measure, Hi. 2. 

File, the valued (list with estimates of value), Macbeth, Hi. 1. 

Filed (polished), Love's Labour's Lost, v. 1. 

Filial love and duty, Two Gentlemen of Verona, Hi. 1; A 
Winter s Tale, iv. 4 ; King Lear, i. 4 i H. 1, 4 ; iv. 2, 7. 

Fineless (endless), Othello, Hi. 3. 

Finsbury, I. Henry IV., Hi. 1. Then open fields and a favourite 
resort, now a part of London. 

Fire, that's closest kept, Two Gentlemen of Verona, i. 2; shunned, 
Two Gentlemen of Verona, i. 3 ; cannot melt out of me, Much Ado 
about Nothing, i. 1 ; drives out fire, Coriolanus, iv. 7 ; a mighty, Ju- 
lius Cmsar, i. 3 ; a wheel of, King Lear, iv. 7. 

Fire-drake (variously explained as the Will o' the wisp, a sort of 
firework, and a mild form of lightning), Henry VIII., v. 4. 

Fire-new (brand-new), Love's Labour's Lost, i. 1, and elsewhere. 

Fire out, Sonnet cxliv. 

Fires (a disease like the strangles), Taming of the Shrew, Hi. 2. 

Firmament, the, Hamlet, ii. 2, " I will tell you why," etc. 

Firmness, Julius Caisar, Hi. 1. 

Fish, to eat no, King Lear, i. 4,' of fortune's buttering, AIVs 
Well that Ends Well, v. 2 ; finless, Comedy of Errors, Hi. 1; I. 
Henry IV., Hi. 1. 

Fishermen, moralizing by, Pericles, ii. 1. 

Fishes, the great eat the little, Pericles, ii. 1. 

Fishing, nothing to be got nowadays except by, Pericles, ii. 1. 

Fistula, disease of the king, All's Well that Ends Well, i. 1. 



INDEX TO SHAKSPERE'S WORKS. 125 

Fitchew (pole-cat), Othello, iv. 1, and elsewhere. 

Fitzwalter, a character in Richard II, introduced in iv. 1. 

Flaminius, a servant of Timon of Athens, introduced in ii. 2. 
Owing to confusion in the original copy, where the steward is some- 
times known as Flavius, and that name is also given to this servant, 
later editions vary. See Flavius. 

Flannel, made in Wales, Merry Wives of Windsor, v. 5. 

Flap-dragons, Love's Labour's Lost, v. 1 ; A Winter's Tale, Hi. 
3 ; II. Henry I V., ii. 4. Substances set on fire and placed on the 
top of liquor, skill being required to drink without being burned. 
Sometimes they were candle-ends. 

Flatterers, of a king, Richard II, ii. 1 ; of the rich, Timon of 
Athens, i. 1, 2 ; ingratitude of, Timon of Athens, ii. 2 ; Hi. 2, 5 ; 
all men are, Timon of Athens, iv. 3 ; Julius Cozsar, ii. 1; iv. 3 ; v. 
1 ; Passionate Pilgrim, xx. 

Flattery, of Falstaff, Merry Wives of Windsor, ii. 2 ; Hi. 3 ; 
of Evans, Merry Wives of Windsor, Hi. 1; of Mrs. Ford, Merry 
Wives of Windsor, Hi. 3 ; conquers strife, Comedy of Errors, Hi. 2 ; 
Love's Labour's Lost, ii. 1 ; of Hero, Much Ado about Nothing, Hi. 4 ; 
As You Like It, ii. 1; of a king, Richard II, i. 1 ; Hi. 2 ; thought 
truth, 7. Henry IV., iv. 1; of King James I., Henry VIII., v. 5 ; 
poured on Ajax, Troilus and Cressida, ii. 3 ; of the people, Corio- 
lanus, ii. 2 ; Hi. 2 ; contempt for, Coriolanus, Hi. 1, u Neptune for 
his trident," etc. ; men deaf to counsel, but not to, Timon of Athens, 
i. 2 ; Hi. 3 ; necessity for, Macbeth, Hi. 2 ; profitable, Hamlet, Hi. 2, 
to Horatio ; Othello, iv. 2, " I grant, indeed," etc. ; King Lear, i, 1 ; 
fault contrary to — sarcastic, King Lear, ii. 2; Cymbeline, i. 6; 
Pericles, i. 2 ; iv. 4 ; which melteth fools, Julius Caisar, Hi. 1. 

Flavins, a gentleman, mentioned in Measure for Measure, 
iv. 5. 

Flavius, one of the tribunes in Julius Cmsar, first appears in *. 1. 
See Marullus. 

Flavius, steward of Timon of Athens, introduced in *". 2. In 
some editions he is mentioned simply as the steward, and those copies 
have the name Flavius for the servant Flaminius. The difference 
arises from some confusion in the original copy. The steward re- 
mained faithful and disinterested after Timon's false friends had 
deserted him, iv. 3, end. 

Flaws (sudden gusts of wind), 77. Henry IV., iv. 4; 77. Henry 
VI, Hi. 1 ; Venus and Adonis, I. 456. 

Fleaxice, son of Banquo, in Macbeth, first appears in ii. 1. In 



126 INDEX TO SHAKSPERE'S WORKS. 

Hi. 3, he escapes from the murderers that are set upon him and his 
father. 

Fleece, hair like a golden, Merchant of Venice, i. 1 ; Hi. 2. 

Fleet, description of a, Henry V., Hi., chorus. 

Fleet (the prison), II. Henry IV., v. 5. 

Flemish drunkard, a, Merry Wives of Windsor, ii. 1. 

Flesh, the pound of, Merchant of Venice, i. 3 ; Hi. 1, 3, 5; iv. 
1; as regards the original story, see under Merchant of Venice; 
and blood, my own, Merchant of Venice, Hi. 1 ; more, more frailty, 
1. Henry IV., Hi. 3 ; this too solid, Hamlet, i. 2. 

Fleur-de-lys. See Flower-de-luce. 

Flew'd (with flews or large chaps), Midsummer-Night's Dream, 
iv. 1. 

Flibbertigibbet, a fiend, King Lear, Hi. 4 ; iv. 1. See Mahu. 

Flight, of Hotspur's soldiers, II. Henry IV., i. 1 ; of Antony at 
Actium, Antony and Cleopatra, Hi. 8 or 10, 11 or 13 ; Macbeth, v. 3. 

Flint Castle, in Wales, scene of Richard II., Hi. 3. 

Flirtation, Hamlet, i. 3, " The trifling of his favours," etc. 

Flood, the great, Julius Cmsar, i. 2. Deucalion's (q. v.). 

Flood, loss by, King John, v. 6, 7. John once lost his baggage 
and treasure by a flood while on his way from Lynn to Lincolnshire. 

Florence, Italy, scene of a part of All's Well that Ends Well. 

Florence, Duke of, an unimportant character in AIVs Well that 
Ends Well, introduced in Hi. 1. 

Florentius, Taming of the Shrew, i. 2. Allusion to an old story 
told by Gower in"Confessio Amantis." Florentius bound himself 
to marry a deformed hag if she would solve for him a riddle on which 
his life depended. 

Florizel, character in A Winter's Tale, first appears in iv. 4. 
He is the son of the King of Bohemia and lover of Perdita, to whom 
he is first known as Doricles. His character is pure, disinterested, 
and romantic. 

Flote (wave), The Tempest, i. 2. 

Flout 'em and scout 'em, song, The Tempest, Hi. 2. 

Flower-de-luce, A Winter's Tale, iv. 3 or 4 ; I. Henry VI, i. 
2 ; II. Henry VI, v. 1; cropped on the, I. Henry VI, i. 1, alluding 
to the losses in France ; the three fleurs-de-lis of France were on the 
arms of England until the beginning of this century. It is a corrup- 
tion of " Fleur de Louis," from Louis VII., who chose it for his em- 
blem when about to start on his crusade. 

Flower(s), Two Gentlemen of Verona, ii. 4 ; Midsummer-Night's 



INDEX TO SHAKSPERE'S WORKS. 127 

Dream, ii. 1, 2 ; A Winter's Tale, iv. 4-,' significance of, Hamlet, iv. 
5 (or 2) ; Romeo and Juliet, iv. 5 ; Hamlet, v. 1 ; for the dead, Cym- 
beline, iv. 2 ; Pericles, iv. 1 ; from the blood of Adonis, Venus and 
Adonis, I. 1168. 

Fluellen, a Welshman, character in Henry V., introduced in 
Hi. 2. He talks with an affectation of learning, but is in reality- 
straightforward, simple, true, and serious. In iv. 1 the king says of 
him: 

" Though it appear a little out of fashion, 
There is much care and valour in this Welshman." 
The name is found among those of contemporaries of Shakspere at 
Stratford. 

Flute, Francis, a bellows-mender, character in Midsummer- 
NighVs Dream, introduced in i. 2. He takes the part of Thisbe in 
the play before the duke. 

Fly, killing of a, Titus Andronicus, Hi. 2. Perhaps an allusion 
to the belief that evil spirits sometimes took the form of a fly. 

Foe, a furnace heated for a, Henry VIII., i. 1; my dearest, 
Hamlet, i. 2. 

Foes, profit by, in self-knowledge, Twelfth Night, v. 1. 

Foil, use of a, I. Henry IV., i. 2, end. 

Foins (passes in fencing), Much Ado about Nothing, v. i ; King 
Lear, iv. 6. 

Foison (abundance), The Tempest, iv. 1 ; Macbeth, iv. 3. 

Foix, a French lord, killed at Agincourt, mentioned, Henry V., 
Hi. 5 ; iv. 8. 

Folly, of love, Two Gentlemen of Verona, i. 1 ; ii. 1 ; of the 
wise, As You Like It, ii. 7 ; Love's Labour's Lost, v. 2; waited on 
by wisdom, All's Well that Ends Well, i. 1; of fools and wise, 
Twelfth Night, Hi. 1. 

Food, influence of, Comedy of Errors, ii. 2 ; Love's Labour's 
Lost, i. 1. See Beef. 

Fool, of King Lear, the, introduced in i. 4, of the play. 

" The fool is no comic buffoon to make the groundlings laugh. 
... He is as wonderful a creation as Caliban ; his wild babblings 
and inspired idiocy articulate and gauge the horrors of the scene." 
— Coleridge/ 

Fool-begg'd patience, Comedy of Errors, ii. 1. Supposed 
allusion to the custom of oegging the king for the guardianship of 
rich idiots. 

Foolhardiness, Cymbeline, iv. 2, " Being scarce made up," etc. 
12 



128 INDEX TO SHAKSPERE'S WORKS. 

Fooling, Twelfth Night, ii. 3 ; Troilus and Cressida, v. 2; 
Hamlet, Hi. 2. 

Foolishness, monopoly of, King Lear, i. 4. 

Fool(s), let me play the, Merchant of Venice, i. 1 ; whetstones 
of wit, As You Like It, i. 2 ; wit of, As You Like It, i. 2 ; to call, 
As You Like It, ii. 5 ; a motley, As You Like It, ii. 7 ; liberty of, 
As You Like It, ii. 7 ; thinks he is wise, As You Like It, v. 1 ; 
made better by infirmity, Twelfth Night, i. 5 ; wise men that crow 
at, Twelfth Night, i. 5 ; no slander in, Twelfth Night, i. 5 ; wit re- 
quired for playing the, Twelfth Night, Hi. 1 ; Troilus and Cressida, 
ii. 3 ; livery of, white and green, Romeo and Juliet, ii. 2 ; old, King 
Lear, i. 3 ; constancy for, King Lear, ii. 4 ; of fortune, King Lear, 
iv. 6 ; to suckle, Othello, ii. 1 ; a son of a crafty devil, Cymbeline, 
ii. 1; bolt of, soon shot (proverb), Henry V., Hi. 7 ; paradise of, 
Romeo and Juliet, ii. 4 ; let him play the fool nowhere but in his 
own house, Hamlet, Hi. 1. 

Football, allusions, Comedy of Errors, ii. 1 ; King Lear, i. 4. 

Foot land-rakers (footpads), I. Henry IV., ii. 1. 

Footsteps, light, Venus and Adonis, I. 1028. 

Fop, a, AlVs Well that Ends Well, ii. 5, " The soul of this man 
is in his clothes." See Dandy. 

Fopp'd (fooled), Othello, iv. 2. 

Forbid (bewitched, set apart). Macbeth, i. 3. 

Ford, Frank, a character in the Merry Wives of Windsor, intro- 
duced in ii. 1. Pistol arouses his jealousy toward Falstaff, and he 
disguises himself, and is introduced to the knight as Mr. Brook. 

Ford, Mistress, one of the Merry Wives of Windsor. Incensed 
by Falstaff's outrageous love-making, she and Mrs. Page, to whom 
he had sent the " twin brother " of the love-letter he sent to her, 
combine to punish him, and their scheme forms the plot of the play. 

Fordham, John. See Ely, Bishop of. 

Fordoes (undoes), Hamlet, ii. 1 ; Othello, v. 1. 

Foreboding, A Winter's Tale, in. 3, " The skies look grimly ; " 
Richard II., ii. 2, " Some unborn sorrow is coming toward me ; " 
Henry V., iv. 1, " Even as wrecked men ; " Romeo and Juliet, i. 4, 
" Some consequence yet hanging in the stars ; " Hi. 5, " I have an 
ill-divining soul ; " Macbeth, ii. 1, " A heavy summons lies like lead 
upon me." See Omens. 

Foreheads, low, The Tempest, iv. 1 ; Two -Gentlemen of Verona, 
iv.4; Antony and Cleopatra, Hi. 3; armed and reverted, Comedy 
of Errors, Hi. 2. 



INDEX TO SHAKSPERE'S WORKS. 129 

Forester, a character in Love's Labour's Lost, introduced in iv. 1. 

Forfeit, all souls were once, Measure for Measure, ii. 2. 

Forfeits (fines on loungers), Measure for Measure, v. 1. 

Forgery (imagination), Hamlet, iv. 7 (or Jf). 

Forgetfulness, like a dull actor now, I have forgot my part, 
Coriolanus, v. 3. 

Forgiveness, Tempest, v. 1; AWs Well that Ends Well, v. 3; 
Hamlet, iii. 3; Cymbeline, v. 5 ; Two Gentlemen of Verona, v. 4; 
All's Well that Ends Well, v. 3. It was an old custom for the exe- 
cutioner to ask forgiveness of the condemned before inflicting the 
penalty. See also Mercy and Pardon. 

Formal (normal), Comedy of Errors, v. 1 ; Antony and Cleopatra, 
ii. 5 ; Twelfth Night, ii. 5. 

Forms, effect of changing old, King John, iv. 2. 

Forres, a town about twenty-five miles from Inverness, on the 
Moray Frith, scene of a part of Macbeth. 

Forrest, Miles, a murderer, Richard III., iv. 3. 

Forslow (delay), III. Henry VI, ii. 3. 

Forthcoming (in custody), II. Henry VI, ii. 1. 

For shame ! deny that thou bear'st love, Sonnet x. 

Forthright, a prisoner, Measure for Measure, iv. 3. 

Fortinbras, King of Norway, slain by Hamlet, i. 1, father of 
the prince of that name in the play. 

Fortinbras, Prince, nephew of the King of Norway, Hamlet, i. 
2 ; character in Hamlet, appears in iv. 4 (or 1), and v. 2. 

Fortitude, Timon of Athens, Hi. 5, " He's truly valiant," etc. ; 
Troilus and Cressida, i. 3, " In the reproof of chance," etc. ; An- 
tony and Cleopatra, iv. 12, " Nay, good my fellows," etc. 

Fortune, all is but, The Tempest, v. 1 ; girl that flies her, Two 
Gentlemen of Verona, v. 2 ; with her wheel, As You Like It, i. 2; 
III Henry VI, iv. 3 ; King Lear, ii. 2, end ; v. 3 ; Lucrece, I. 952 ; 
out of suits with, As You Like It, i. 2; railed on, As You Like It, 
ii. 7, " Call me not fool till," etc. ; play upon thy helm, AIVs Well 
that Ends Well, iii. 3 ; displeasure of, AIVs Well that Ends Well, v. 
2 ; a good lady, AIVs Well that Ends Well, v. 2 ; accident and flood of, 
Twelfth Night, iv. 3 ; fickleness of, King John, Hi. 1 ; Macbeth, i. 2 ; 
Romeo and Juliet, Hi. 5 ; Passionate Pilgrim, xxi. ; most threaten- 
ing before favoring, King John, iii. 4 ; never has both hands full, 
II Henry IV., iv. 4. ; the blind goddess, Henry V., iii. 6 ; proves 
men, Troilus and Cressida, i. 3 ; men fallen out with, Troilus and 
Cressida, iii. 3.; blows of, to the noble, Coriolanus, iv. 1 ; fool of, 



130 INDEX TO SHAKSPERE'S WORKS. 

Romeo and Juliet, Hi. 1 ; King Lear, iv. 6 ; changes of, Timon of 
Athens, i. 1 ; every step (grise) of. Timon of Athens, iv. 3 ; at odds 
with, Timon of Athens, iv. 3 ; in a merry mood, Julius Cmsar, Hi. 
2 ; a tide that leads to, Julius Ccesar, iv. 3 ; we are not the button 
on the cap of, Hamlet, ii. 2 ; turn Turk, Hamlet, Hi. 2 ; men that 
are not a pipe for, Hamlet, Hi. 2 ; a good man's, King Lear, ii. 2 ; 
ne'er turns the key to the poor, King Lear, ii. 4 ; friends in good, 
King Lear, ii. 4; the worst, King Lear, iv. 1; tame to blows of, 
King Lear, iv. 6 ; two loved and hated by, King Lear, v. 3 ; mark 
of harsh, Antony and Cleopatra, ii. 6 ; laughed away, Antony and 
Cleopatra, ii. 6 ; scorned most, Antony and Cleopatra, Hi. 9 or 11 ; 
and Antony part, Antony and Cleopatra, iv. 10 or 12 ; false house- 
wife, Antony and Cleopatra, iv. 13 or 15 ; knave of, Antony and 
Cleopatra, v. 2 ; uncertainty of, Cymbeline, Hi. 3 ; brings in boats 
not steered, Cymbeline, iv. 3 ; spite of, Sonnets xxxvii., xc; respon- 
sibility of, Sonnet cxi. 

Fortune-hunter, not a, Twelfth Night, ii. 4- 

Fortune, my foe, an old song, alluded to, Merry Wives of Wind- 
sor, Hi. 3. 

Fortune-telling, Merry Wives of Windsor, iv. 2 ; Comedy of 
Errors, v. 1 ; Antony and Cleopatra, i. 2 ; allusions to the use of a 
glass in, Measure for Measure, ii. 2 ; Macbeth, iv. 1. 

Forum, Roman, scene of Coriolanus, ii. 3. 

Fountain, a warm, Sonnets cliii., cliv. 

Fowling, allusions to, stale (decoy), The Tempest, iv. 1; stalk 
on, Much Ado about Nothing, ii. 3 ; limed a bush, II. Henry VI., 
i. 3 ; ii. 4 ; dare with his cap like larks, Henry VIII, Hi. 2. Larks 
were " dared by small mirrors on scarlet cloth, which dazed them 
while the net was thrown over them." The allusion here is to the 
cardinal's red hat. 

Fox, a drawn, I. Henry IV., Hi. 3, drawn from cover ; never 
trusted, I. Henry IV., v. 2 ; thou diest on point of, Henry V., iv. 4- 
The last alludes to a sword with the figure of a fox on it, originally 
used by Ferrara as a trade- mark. Allusions to the cunning of the, 
J7. Henry VI, Hi. 1 ; III. Henry VI, iv. 7 ; Henry VIII, i. 1 ; 
Timon of Athens, iv. 3 ; Lear, Hi. 4 ; this lion is a fox for his valour, 
Midsummer Night's Dream, v. 1. 

Fox and grapes, the, All's Well that Ends Well, ii. 1. 

Frailty, of women, Measure for Measure, ii. 4,' Hamlet, i. 2 ; 
human, Henry VIII, v. 3; we are devils to ourselves when we 
tempt the frailty of our powers, Troilus and Cressida, iv. 4. 



INDEX TO SHAKSPERE'S WORKS. 131 

Frampold (uncomfortable). Merry Wives of Windsor, u. 2. 

France, scene of parts of King John, Henry V., I. and HI. 
Henry VI, AIVs Well that Ends Well. Allusion to the war in, in 
1589, against Henry IV., Comedy of Errors, in. 2 ; the Salique law 
in, Henry V., i. 2. The errors in the passage where the bishop states 
the case, are taken, with all the other statements, from Holinshed. 
Besides the evident mistake in the number of years. Charlemain is 
spoken of instead of Charles the Bald as father of the Lady Lingare, 
and Louis X. is mentioned in place of Louis IX., St. Louis. Eng- 
lish claim to the crown of, Henry V., i. 1 ; ii. 4 / boasting in the 
air of, Henry V., in. 6 ; English losses in, I. Henry VI, i. 1 ; 
wounds of, /. Henry VI, Hi. 3 ; compact of, with England, I. Hen- 
ry VI, v. 4 ; English wars and losses in, II Henry VI, i. 1 ; Hi. 1 ; 
better using than trusting, III Henry VI, iv. 1; following the 
fashions of, Henry VIII, i. 3. 

France, King of, a fine and noble character in AIVs Well that 
Ends Well, introduced in the second scene. 

France, King of, character in King Lear, introduced in i. 1, as 
a suitor for Cordelia, afterward her husband. 

France, Kings of. See Charles VII., Louis XI. 

France, Princess of, one of the principal characters in Love's 
Labour's Lost, introduced in ii. 1. She comes to ask Aquitaine from 
the young King of Navarre in his " Academe." She and her ladies 
are lively if not altogether refined, full of droUery and mischief. 

-Francis, a friar in Much Ado about Nothing, introduced in iv. 
1, "a near spiritual kinsman of Friar Laurence in Romeo and 
Juliet" 

Francisca, a nun, character in Measure for Measure, appears in 
i. 5. 

Francisco, a lord, character in The Tempest, introduced in 
ii. 1. 

Francisco, a soldier in Hamlet, introduced in i. 1, as a sentinel. 

Frank (stye), II Henry IV., ii. 2. 

Franked (penned), Richard III, i. 3 ; iv. 5. 

Frateretto, a fiend, King Lear, Hi. 6. See Mahu. 

Frederick, brother of Mariana in Measure for Measure, who 
had been shipwrecked with his sister's dowry in his charge, men- 
tioned in Hi. 1. 

Frederick, the usurping duke in As You Like It, first appears 
in i. 2. He " is called, even by his daughter, a man of harsh and 
envious mind ; he appears to be perpetually actuated by gloomy fan- 



132 INDEX TO SHAKSPERE'S WORKS. 

cies, by suspicion and mistrust, and to be urged on by covctousncss." 
He repents in the end, and becomes a hermit. 

Free (pure), Twelfth Night, ii. 4; A Winter's Tale, ii. 3. 

Freedom, with foppery, Measure for Measure, i. 3 ; of spirit, 
Julius Cmsar, i. 3 ; real, King Lear, i. 1. 

Freetown, Romeo and Juliet, i. 1. Literal translation of Villa 
Franca. 

Free will, of men, AlVs Well that Ends Well, i. 1, " Our reme- 
dies oft in ourselves," etc. ; Julius Caisar, i. 2, " Men at some time 
are masters," etc. ; Othello, i. 3, " 'Tis in ourselves," etc. 

French, the, II. Henry IV., i. 3. A large French force was 
sent over during this rebellion to Milford Haven in aid of Glen- 
dower. Defeat of, Henry V., iv. 5 ; those killed at Agincourt, iv. 8 ; 
inconstancy of, I. Henry VI, Hi. 3 ; supposed fear of Henry V. of, 
I. Henry VI, i. 1 ; fashions from, Romeo and Juliet, ii. 4 ; charac- 
teristics of, Merchant of Venice, i. 2 ; lack language to deny if girls 
of Italy demand, AlVs Well that End's Well, ii. 1. 

French language, scenes or parts of scenes in, Henry V., Hi. 
4; iv. 4; v. 2. 

Frenzy, humours his, Comedy of Errors, iv. 4 / melancholy the 
nurse of, Taming of the Shrew, induction, 2. 

Frets, the stops on lutes, guitars, and viols, Taming of the 
Shrew, ii. 1 ; Hamlet, Hi. 2. 

Friar, the duke disguised as a, Measure for Measure, ii. 3. 

Friars, not allowed to go alone, Romeo and Juliet, v. 2. 

Friend remembered not, song, As You Like It, ii. 7. 

Friend(s), must needs be proportion in, Merchant of Venice, Hi. 
4; keep thy, AlVs Well that Ends Well, i. 1; in misery, As You 
Like It, ii. 1 ; abused by praise of, Twelfth Night, v. 1 ; happiness in 
remembering, Richard II, ii. 3 ; backing of, i". Henry IV., ii. 4 ! 
desertion of, Henry VIII, ii. 1 ; Troilus and Cressida, Hi. 3, " 'Tis 
certain greatness," etc. ; praise of, Coriolanus, v. 2 ; need the oppor- 
tunity of, Timon of Athens, i.2 ; an over-generous, Timon of Athens, 
ii. 1 ; reliance on, Timon of Athens, ii. 2 ; false, Timon of Athens, 
i. 1 ; Hi. 1, 3 ; iv. 2, 3 ; " Not by his breath," etc. ; old and new, 
Hamlet, i. 3 ; who needs not shall never lack a, Hamlet, Hi. #, speech 
of the player king ; in misfortune, Antony and Cleopatra, iv. 10 or 
12 ; be not last to desert a, Sonnet xc. ; a true, Passionate Pilgrim, 
xxi. ; duty of a, Othello, Hi. 3 ; Julius Caisar, iv. 3 ; description of, 
Hamlet, Hi. 2 ; Merchant of Venice, Hi. 2 ; As You Like It, i. 3. 

Friendship, of Valentine and Proteus, Two Gentlemen of Ve- 



INDEX TO SHAKSPERE'S WORKS. 133 

rona ; treachery to, Two Gentlemen of Verona, ii. 6 ; Hi. 1; v. 4 ; 
constant in all but, Much Ado apout Nothing, ii. 1 ; of Helena and 
Hermia, Midsummer- Night's Dream, Hi. 2 ; of Rosalind and Celia, 
As You Like It, i. 2, 3 ; of the kings, A Winter's Tale, i. 1 ; of York 
and Suffolk, Henry V, iv. 6 ; not knit by wisdom, Troilus and Cres- 
sida, ii. 3 ; needs no ceremony, Timon of Athens, i. 2 ; coolness in, 
Julius Caisar, i. 2 ; iv. 2 ; caution and constancy in, Hamlet, i. 3 ; 
brittleness of, Coriolanus, v. 4 ; falsehood to, Sonnet xxxiv. 

Friendship is feigning, song, As You Like It, ii. ?. 

Frieze, made in Wales, Merry Wives of Windsor, v. 5. 

Fright, appearance of, Hamlet, Hi. 4, " Alas ! how is't ? " 

Frippery (a second-hand shop), The Tempest, iv. 5. 

Frogmore, Merry Wives of Windsor, ii. 3. Frogmore House 
is half a mile east of Windsor. 

Froissart, Jean, i". Henry VI, i. 2. Author of the " Chroni- 
cles," who lived from 1337 to 1410. 

Frontiers (forts on the frontiers), I. Henry IV, ii. 3. 

From east to western Ind, love-verses, As You Like It, Hi. 2. 

Froth, a foolish man in Measure for Measure, introduced in ii. 
1, where he is under arrest, but is discharged on account of his evi- 
dent incapacity. 

Froth and lime, let me see thee, Merry Wives of Windsor, i. 
3. Froth beer and lime sack, to make it sparkle. 

Frown, a, Henry VIII, ii. 2; v. 1 ; of majesty, King John, iv.2. 

Frush (break to pieces), Troilus and Cressida, v. 6. 

Full fathom five, song, The Tempest, i. 2. 

Fullam. See Gourd. 

Full many a glorious morning, Sonnet, xxxiii. 

Fulvia, Antony's first wife, spoken of in Antony and Cleopatra, 
i. 1, 2 ; ii. 2. 

Function (ability to act), Macbeth, i. 3. 

Funeral(s), of Henry V., I. Henry VI, i. 1; of Cassar, Julius 
Caisar, Hi. 1, 2 ; followed by marriage, Hamlet, i. 2 ; of Ophelia, 
Hamlet, v. 1 ; of Cleopatra, Antony and Cleopatra, v. 2 ; of the sons 
of Titus, Titus Andronicus, i. 1 ; music for a, the Phoenix and the 
Turtle ; song for a, Cymbeline, iv. 2. 

Furs, of foxes, and lamb-skins, significance of, Measure for 
Measure, Hi. 2. 

Fury, Henry V., iv. 4; III. Henry VI, i. 4; Troilus and 
Cressida, ii. 3 ; fire-eyed, Romeo and Juliet, Hi. 1 ; I understand a 
fury in your words, Othello, iv. 2 ; a noble, Cymbeline v. 5. 



134: INDEX TO SHAKSPERE'S WORKS. 

Fury, the apparition of a hound, 2 he Tempest, iv. 1. 

Furze, The Tempest, i. 1. 

Fust (mould), Hamlet, iv. 4 (or 1). 

Future, the, if it were known, II. Henry IV., Hi. 1 ; Julius 
Ccesar, v. 1; if you can look into, Macbeth, i. 3 ; dread of, Hamlet, 
in. 1 ; Measure for Measure, Hi. 2 ; we know not, Hamlet, v. 5. See 
Prophecies. 

G., the letter, prophecy regarding, Richard III., i. 1. 

Gaberdine, The Tempest, ii. 2 ; Merchant of Venice, i. 3. A 
long, frock-like coat. 

Gadfly. See Breese. 

Gads-Hill, scene of a part of I. Henry IV. On the Kentish 
road near Rochester. 

Gadshill, a character in I. Henry IV., introduced in ii. 1. He 
is one of Falstaff's company, and so disreputable that the carriers 
are afraid to trust him with their lanterns. In ii. 2 he takes part in 
the robbery, and in the lying in ii. 4. 

Gage. See Challenge. 

Gain, be my lord, King John, end of act ii. ; seekers of, King 
Lear, ii. 4- 

Gaingiving (misgiving), Hamlet, v. 2. 

Gait, a springing, Troilus and Cressida, iv. 5 ; a majestic, Love's 
Labour's Lost, v. 1 ; Antony and Cleopatra, Hi, 3 ; Lear, v. 3 ; A 
Winter's Tale, iv. 3 ; of a shuffling nag, 7". Henry IV., Hi. 1. 

Galathe, Hector's horse, Troilus and Cressida, v. 5. 

Galen, Merry Wives of Windsor, ii. 3 ; Hi. 1; All's Well that 
Ends Well, ii. 3 ; II. Henry IV., i. 2 ; Coriolanus, ii. 1. 

Gall, in ink, Twelfth Night, Hi. 2. 

Galliard (a sprightly dance), Twelfth Night, i. 3 ; Henry V., 
i.2. 

Galliass, Taming of the Shrew, ii. 1. A large galley with 
three masts and seats for thirty-two rowers. 

Gallimaufry (medley), Merry Wives of Windsor, ii. 1; A Win- 
ter's Tale, iv. 4. 

Gallow (frighten), King Lear, Hi. 2. 

Gallowglasses (troops each " armed with a scull, a shirt of mail, 
and a galloglas-axe "), Macbeth, i. 2 ; II. Henry VI., iv. 9. 

Gallows, born for the, The Tempest, i. 1 ; v. 1 ; Love's Labour's 
Lost, v. 2 ; 1. Henry IV., i. 2 ; abolition of the, I. Henry IV., i. 2; 
a fat pair, 7. Henry IV., ii. 1; Hamlet, v. 1. See Hanging. 



INDEX TO SHAKSPERE'S WORKS. 135 

Gallus, character in Antony and Cleopatra, introduced in v. 1, a 
friend of Caesar. 

Gam, Davy, his death, Henry V., iv. 8. 

Gaming, the varnish of a complete man, Love's Labour's Lost, 
, i. 2. 

Gamut, Hortensio's, Taming of the Shrew, Hi. 1. 

Ganymede, name assumed by Rosalind, As You Like It, i. 3. 

Gar boils (tumult), Antony and Cleopatra, i. 3 ; ii. 2. 

Garden, order in a, Richard II., Hi. 4. 

Gardener, a. Richard II. t Hi. 4> 

Gardening, II. Henry VI., in. 1, " Now 'tis the spring," etc. ; 
Henry V, ii. 4 ; Adam's profession, Richard II., Hi. 4 ; II. Henry 
VI, iv. 2 ; Hamlet v. 1. 

Gardiner, Stephen, Bishop of Winchester, character in Henry 
VIII, introduced in ii. 2 ; his unscrupulousness, ii. 2. In v. 1, he 
expresses enmity to Cromwell and Cranmer. He favored the divorce 
and the Anglican Church under Henry, but became a papist again 
under Mary, in whose reign he was chancellor, and whose measures 
against the Protestants he was largely concerned in. 

Gargantua, As You Like It, Hi. 2. A giant in the writings of 
Rabelais, who swallowed five pilgrims with their staves in a salad. 

Gargrave, Sir Thomas, character in I. Henry VI, appears in i, 
4, at the siege of Orleans, and is killed. 

Garlands, A Winter's Tale, iv. 3 or 4; oaken, Coriolanus, ii. 1; 
wheaten, Hamlet, v. 2 ; willow, Othello, iv. 3, song. 

Garment, the everlasting, Comedy of Errors, iv. 2. 

Garter, Knights of the, Merry Wives of Windsor, v. 5. 

Garter, Order of the, I. Henry VI, iv. 1 ; Richard III., iv. 4. 

Garter king at arms, Henry VIII, iv. 1, order of the corona- 
tion. Thomas Wriothesley, grandfather of Henry Wriothesley, to 
whom Venus and Adonis and Lucrece were dedicated. 

Garter Inn, the, scene of a part of the Merry Wives of Windsor. 
The Host, one of the characters, first appears in i. 3. 

Gascoigne, Sir William, Lord Chief Justice, character in 77. 
Henry IV., first appears in i. 2. One of the legends about the wild 
Prince Hal is that he gave the chief justice a cuff on the ear, and 
was sent to prison for it by the justice. In v. 2, Sir William defends 
his action, and is unexpectedly praised for it and retained in office 
by the young king. 

Gascony, in southwestern France, scene of 7. Henry VI, iv. 
S,4- 



136 INDEX TO SHAKSPERE'S WORKS. 

Gate, the strait, All's Well that Ends Well, iv. 5. 

Gaudy night, one other, Antony and Cleopatra, Hi. 13. Gaudy 
days — that is, days of joy — is a term for feast-days. 

Gaunt, John of, Duke of Lancaster, character in Richard II, 
enters in the first scene. He was born in 1339 in Ghent, whence his 
name. At the opening of the play he was fifty-eight, though ad- 
dressed as a very old man. He is a fine and stately character. His 
patriotism is shown in his reproaches to Richard for his sins against 
his country, and his eulogy on England in ii. 1, just before his 
death (1399). His line, III. Henry VI., i. 1 ; his wisdom, 111. Henry 
VI, Hi. 4- 

Gawsey (Gausel or Goushill), Sir Nicholas, I. Henry IV., v. 4- 

Gear (business), Merchant of Venice, i. 1 ; II. Henry VI, i. 4 ; 
Troilus and Cressida, i. 1. 

Geek (fool, fop). Twelfth Night, v. 1 ; Cymbeline, v. 4. 

Gelidus timor, etc., II. Henry VI, iv. 1. Cold fear seizes my 
limbs. 

Gender (sort), Hamlet, iv. 7 (or 4). 

General (the common people), Measure for Measure, ii. 4 1 cavi- 
are to the. See Caviare. 

General (the public weal), Julius Caesar, ii. 1. 

General, fame of a, Coriolanus, i. 1, end. 

Generation (children), King Lear, i. 1. 

Generation, to yonder (or the under), Measure for Measure, iv. 
3. The under would mean the antipodes ; yonder may mean those 
outside the prison. 

Genius, the (the soul), Julius Cozsar, ii. 1 ; Twelfth Night, Hi. 
4 ; (the tutelar angel), Troilus and Cressida, iv. 4. 

Gentility, law against — the influence of women, Love's Labour's 
Lost, i. 1. 

Gentleman, characteristics of a, Two Gentlemen of Verona, ii. 
4 ; a fine, Love's Labour's Lost, v. 2 ; signs of a, Twelfth Night, i. 
5 ; born a, Merry Wives of Windsor, i. 1 ; A Winter's Tale, v.2; a 
brave, /. Henry IV., v. 1 ; a, framed in the prodigality of nature, 
Richard III, i. 2 ; bears him like a, Romeo and Juliet, i. 5 ; the 
most ancient, Hamlet, v. 1. 

Gentlemen, who neither envy the great nor despise the low, 
Pericles, ii. 3. 

Gentleness, a strong enforcement, As You Like It, ii. 7 ; neces- 
sary for success, Coriolanus, Hi. 1. 

Gentry (courtesy), Hamlet, ii. #. 



INDEX TO SHAKSPERE'S WORKS. 137 

Gentry, degrees of, Merry Wives of Windsor, ii. 1, " Not alter 
the article," etc. ; inheritance of, A Winter's Tale, i. 2. 

Geoffrey Plant agenet, the father of Prince Arthur, mentioned 
in King John. 

Geography, Merchant of Venice, i. 1, "Peering in maps for 
ports and piers and roads." 

Geologic changes, II. Henry IV., in. 1, " God, that one 
might read," etc. 

George, look on my, II. Henry VI, iv. 1 ; Richard III, iv. 4. 
The Knights of the Garter wore a figure of St. George on horseback. 

George, St., battle-cry of English soldiers, Henry V., in. 1 ; I. 
Henry VI, iv. 2 ; Richard III, v. 3 ; feast of, April 23d, I Henry 
VI, i. 1 ; and the dragon, King John, ii. 1. Allusion to the picture 
used as an innkeeper's sign. 

Germans, the, Merry Wives of Windsor, iv. 3, 5. It has been 
found by Mr. Knight that the Duke of Wurtemberg travelled in 
England with a retinue in 1592, and went to Windsor, under the 
name of Count Mombeliard (Mumplegart), his title at the time, and 
no doubt this is a reminiscence of that event. Garmomble, almost 
an anagram of Mumplegart, appears in the copy of 1602. An order 
was found from the lord chamberlain that the count should have 
post-horses free. Apparently the host intends to take it. out of the 
rest of the company. Germans are honest men, Merry Wives of 
Wi?idsor, iv. 5 ; all slops (loose breeches) from the waist downward 
like, Much Ado about Nothing, Hi. 2 ; are hasty, III Henry VI, iv. 8. 

Germany, the heresies in Upper, Henry VIII, v. 3 r Alluding 
to the " following of Thomas Muncer in Thuringia in 1521." 

Gertrude, Queen of Denmark and mother of Hamlet, first ap- 
pears in *'. 2. In the history her name is Geruth or Gerutha. It is 
left doubtful whether she knew of the poisoning of Hamlet's father, 
but her affection for Hamlet and for Ophelia make it probable that 
she was weak rather than cruel. She dies, v. 2, of the poison in- 
tended for Hamlet. 

Gest, A Winter's Tale, i. 2. An appointed stage in a royal 
progress ; sometimes used for an appointed limit of time. 

Get you hence, song, A Winter's Tale, iv. 3 or 4. 

Ghost (corpse), II. Henry VI, Hi. 2. 

Ghost (soul), vex not his, King Lear, v. 3. 

Ghost(s), returning, Midsummer-Night's Dream, Hi. 2 ; appear 
to Richard and Richmond, Richard III, v. 3 ; of Caesar, Julius 
CcBsar, iv. 3; v. 5; of Banquo, Macbeth, Hi. 3, 4; of Hamlet's 



138 INDEX TO SHAKSPERE'S WORKS. 

father, Hamlet, i. 1, 2, 4, 5 ; ii. 2, end ; Hi. 4 ; make the, gaze, An- 
tony and Cleopatra, iv. 12 or 14 ; disbelief in, A Winter's Tale, Hi. 3. 

Giant, a, Twelfth Night, i. 5, meaning a guardian giant ; strength 
of, Measure for Measure, ii. 2 ; pangs of, in death, Measure for 
Measure, Hi. 1 ; robe of a, Macbeth, v. 2. 

Gib-cat (an old cat), I. Henry 1 V, i. 2. 

Gifts, slight, As You Like It, i. 2, " Wear this for me," etc. ; that 
are locked in the heart, A Winter's Tale, iv. 3 ; win with, Two Gen- 
tlemen of Verona, Hi. 1 ; of love, Midsummer-Night's Dream, i. 1 ; 
returned, Hamlet, Hi. 1 ; gain praise, Love's Labour's Lost, iv. 1 ; 
seven hundred pounds and possibilities is good, Merry Wives of 
Windsor, i. 1 ; of rich men, Timon of Athens, v. 1. 

Gig (a kind of top), Love's Labour's Lost, iv. 3 ; v. 1. 

Giglot (giddy, inconstant), I. Henry VI, iv. 7 ; Cymbeline, Hi. 1. 

Gilded, by liquor, The Tempest, v. 1, 2. 

Gilly vors (gillyflowers), A Winter's Tale, iv. 3 or 4. 

Gimmals, or gimmers, machinery or jointing of an automaton, 
/. Henry VI., i. 2. A gimmal-ring was a jointed one, two or three 
fastened together, used by lovers. " Gimmal-bit " is used in Henry 
V., iv. 2. 

Ginger, shall be hot i' the mouth, Twelfth Night, ii. 3. 

Gipsy, Cleopatra called a, Antony and Cleopatra, i. 1 ; iv. 10 
or 12. 

Gird (rail at), Coriolanus, i. 1 ; a kindly, I Henry VI, Hi. 1. 
The right kind of reproof. 

Girdle, turn his (challenge by turning the buckle to the back), 
Much Ado about Nothing, v. 1. 

Girdle, round the earth, Midsummer-Night's Dream., ii. 1. 

Gis, Hamlet, iv. 5 (or 2). Meaning unknown. 

Giving vein, the, Richard III., iv. 2. 

Glamis, Macbeth made thane of, by the death of his father, 
Sinel, Finel, or Finlay, Macbeth, i. 3. 

Glansdale, Sir William, character in I. Henry VI, appears in i. 
4, and is killed in the same scene. 

Glass, a prophet looks in a, Measure for Measure, ii. 2. Allu- 
sion to fortune-tellers that prophesied from looking into a beryl or 
crystal glass. — Hudson. 

Gleek(s), jests or gibes, Midsummer-Night's Dream, Hi. 1; I 
Henry VI, Hi. 2 ; Romeo and Juliet, iv. 5. 

Glendower, Owen, a Welsh nobleman, character in I. Henry IV., 
introduced in Hi. 1. His victory over Mortimer is reported in *". 1. 



INDEX TO SHAKSPERE'S WORKS. 139 

He joins in rebellion with the Percys. He believes himself to be 
possessed of supernatural power, and talks pompously (Hi. 1) of the 
portents at his birth, and, Hotspur says, kept him at least nine hours 
"in reckoning up the several devils' names that were his lackeys." 
His death, 77. Henry IV., Hi. 1. As a matter of fact, he did not die 
till 1415, after Henry's death. Allusions to, Richard II.. Hi. 1 ; II. 
Henry VI, ii. 2. It was Lord Grey, of Ruthven, who was held 
captive as described in the last passage. 

Globe, this, shall dissolve, The Tempest, iv. 1. 

Globe Theatre, called " this wooden 0," in the chorus to act i., 
Henry V. 

Glory, guilty of crimes, Love's Labour's Lost, iv. 1 ; the greater 
dims the less, Merchant of Venice, v. 1 ; departure of, Richard II., 
ii. 4 ; like a circle in water, 7. Henry VI., i. 2 ; view of earthly 
(Field of the Cloth of Gold), Henry VIII, i. 1 ; of the world, Henry 
VIII, Hi. 2 ; of this life, madness, Timon of Athens, i. 2. See also 
Fame. 

Gloucester, Thomas of Woodstock, Duke of, uncle of Richard 
II. He was arrested for treason in 1397, condemned, and given into 
the charge of Norfolk, who, it was said, by order of the king, secretly 
made away with him. In Richard II, i. 1, Bolingbroke charges 
Norfolk with his death. In iv. 1, Aumerle is accused of being the 
instrument of it. 

Gloucester, Richard, Duke of. See Plantagenet, Richard, 
and Richard III. In III. Henry VI, Hi. 2, he is first called 
Gloucester. 

Gloucester, Duke of, character in King Lear, introduced in the 
first scene. He is coarse in conversation and hot and fiery in his 
condemnation of Edgar ; but the better points of his character come 
out afterward in his manifestation of loyalty, Hi. 3, 7, and his bear- 
ing in the sufferings it brings upon him, Hi. 7. 

Gloucester, dukedom of, ominous, III. Henry VI, ii. 6. It was 
thought to be unlucky on account of the deaths of three of the dukes. 

Gloucester, Eleanor de Bohun, Duchess of, a character in Rich- 
ard II. enters in i. 2. Her death, ii. 2, supposed in the play to be 
at the duke's castle of Plashy or Pleshy, really occurred at Barking 
Abbey, one of the most ancient "abbeys of England, founded by St. 
Erkenwald, about 675 a. d. It was seven miles east of London, on 
the Roding. Nothing now remains of its once fine buildings but a 
gateway vvith a tower, called the " Fire- Bell Tower," from a tradi- 
tion that curfew and fire-alarms were rung from it. 
13 



140 INDEX TO SHAKSPERE'S WORKS. 

Gloucester, Eleanor Cobham, Duchess of. See Eleanor. 

Gloucester, Humphrey, Duke of. See Humphrey. 

Gloucestershire, scene of a part of Richard II. and a part of 
II. Henry IV. Shallow's residence was there. 

Gloves, lovers on, Two Gentlemen of Verona, ii. 1 ; Romeo and 
Juliet, ii. 2 ; used as gages, Richard II, i. 1 ; iv. 1 ; Henry V., iv. 
1 ; Troilus and Cressida, iv. 4,' v. 2; Timon of Athens, v. 4; King 
Lear, v. 2 ; perfumed, Much Ado about Nothing, Hi. 4. 

Glow-worm, the, Hamlet, i. 5 ; Midsummer-Night 's Dream, 
Hi. 1. 

Glutton, the (Dives), II. Henry IV, i. 2. 

Gluttony, bankrupts the wits, Love's Labour's Los 4 , i. 1. 

Gobbo, an old man, father of Launcelot Gobbo, in the Merchant 
of Venice, introduced in ii. 2. 

Gobbo, Launcelot. See Launcelot. 

Go-between, denunciation of a, Two Gentlemen of Verona, i. 2 ; 
a zealous, Merry Wives of Windsor, i. 1 ; ii. 2 ; Troil. and Cress., Hi. 2. 

God, his mercy, Measure for Measure, ii. 2 ; Merchant of Ven- 
ice, iv. 1; II. Henry VI, iv. 8 ; and the rope-maker, Comedy of Er- 
rors, iv. 3; the tuition of, Much Ado about Nothing, i. 1; they hope 
they serve, Much Ado about Nothing, iv. 2 ; feeds the raven and the 
sparrow, As You Like It, ii. 3 ; chooses weak ministers, Alls Well 
that Ends Well, ii. 1 ; the widow's champion, Richard II, i. 2 ; 
guards his anointed, Richard II, Hi. 2, 3 ; is mustering armies of 
pestilence, Richard II, Hi. 3 ; King of kings, Henry V., i. 1 ; we 
are in his hand, Henry V, Hi. 6 ; cannot be escaped, Henry V, iv. 
1 ; Hamlet, Hi. 3, " There is nO shuffling," etc. ; gives light in dark- 
ness, 11. Henry VI, ii. 1 ; a stay and guide, II. Henry VI, ii. 3 ; 
works in all his creatures, 77. Henry VI, ii. 1 ; the judge, II. Henry 
VI, Hi. 2 ; Henry VIII, Hi. 1; King Lear, iv. 2 ; the all-seeing, 
Richard III, v. 1 ; the omniscient, All's Well that Ends Well, ii. 
1; Henry VIII, Hi. 1 ; is just, Richard III, i. 2 ; Macbeth, iv. 3 ; 
rewards service, Henry VIII, Hi. 2 ; his spies, King Lear, v. 3. 

God(s), the, a thousand knees could not move, A Winter's Tale, 
Hi. 2 ; in shapes of beasts, A Winter's Tale, iv. 3 or 4; the service 
greater than, Troilus and Cressida, ii. 2 ; Caesar as a, Julius Caisar, 
i. 2 ; threatenings of the, Julius Caisar, i. 3; wants nothing of a, 
but eternity and a heaven, Coriolanus, v. 4; prayer to, Timon of 
Athens, i. 2 ; let them find their enemies, King Lear, Hi. 2 ; sport 
of, King Lear, iv. 1 ; opposeless wills of, King Lear, iv. 6 ; are just, 
King Lear, v. 3 ; justice and delays of, Antony and Cleopatra, ii. 1 ; 



INDEX TO SHAKSPERE'S WORKS. 141 

seel our eyes, Antony and Cleopatra, Hi. 11 or 13 ; detest baseness, 
Antony and Cleopatra, iv. 12 or 14 ; injurious, Antony and Cleo- 
patra, iv., end ; partiality of, Cymbeline, v. 1 ; cross whom they love 
— their clemency, Cymbeline, v. 4 ; incense to, Cymbeline, v. 5, end ; 
recall their gifts, Pericles, Hi. 1. 

God save her (a charm), Henry VIII., v. 4> 

God ye good even (God give you), As You Like It, v. 1. See 
Good Den. 

Goffe, Matthew, character in II. Henry VI, first appears in iv. 
7, mentioned in iv. 5. He was a foster-brother of Talbot, Earl of 
Shrewsbury, and led the Londoners against Jack Cade in 1450. 

Going, stay not upon the order of, Macbeth, Hi. 4. 

Gold, Comedy of Errors, ii. 1 ; all that glisters is not, Merchant 
of Venice, ii. 7 ; hard food for Midas, Merchant of Venice, Hi. 2; 
fairy gold, A Winter's Tale, Hi. 3; authority led by, A Winter's 
Tale, iv. 3 or 4> to gild refined, King John, iv. 2 ; greed for, II. 
Henry IV., iv. 4 ,' allusion to the notion that potable gold was a 
powerful medicine, II. Henry IV., iv. 4; corrupting, Richard III., 
iv. 2 ; o'erdusted, Troilus and Cressida, Hi. 3 ; worse poison, Romeo 
and Juliet, v. 1 ; allusion to the punishment in hell of the avaricious 
by molten gold poured down the throat, Timon of Athens, Hi. 1 ; 
power of, Timon of Athens, iv. 3 ; what a god it is ! — brings back 
friends, Timon of Athens, v. 1 ; sin plated with, King Lear, iv. 6 ; 
power of, Cymbeline, ii. 3; worthlessness of, Cymbeline, Hi. 6; 
saint-seducing, Romeo and Juliet, i. 1. 

Golden age, or world, The Tempest, ii. 1 ; As You Like It, i. 1. 

Goldsmiths' wives, sentiments "from, As You Like It, Hi. 2. 

Golgotha, Richard II, iv. 1 ; memorize (make memorable), an- 
other, Macbeth, i. 2. 

Goliases, I. Henry VI, i. 2. Goliaths. 

Goliath, with a weaver's beam, Merry Wives of Windsor, v. 1. 

Goneril, one of the daughters of King Lear, introduced in the 
first scene. Her professions of love, i. 1; treatment of her father, 
i. 3, 4 >' intrigue with Edmund, iv. 2, 5 ; v. 1 ; plots against her hus- 
band's life, iv. 6 ; poisons Regan and dies, v. 3. 

"The monsters Goneril and Regan are gorgons rather than 
women, such as Shakspere has nowhere else conceived. The aspect 
of Goneril can almost turn to stone ; in Regan's tongue there is a 
viperous hiss. Goneril is the more formidable, because the more in- 
caple of any hatred which is not solid and four-square. Regan acts 
under her sister's influence, but has an eager venomousness of her 
own." — Dowden. 



142 INDEX TO SHAKSPERE'S WORKS. 

Gonzag-o. See Murder of Gonzago. 

Gonzalo, a loyal and faithful subject of Prospero in The Tem- 
pest, introduced in i. 5. 

Good, render, for evil, The Tempest, v. 1, " The rarer action," 
etc.; ^Ls You Like It, iv. 3; AIVs Well that Ends Well, it. 5; 
Richard III., i. 3 ; Timon of Athens, Hi. 3 ; to do, sometimes folly, 
Macbeth, iv. 2 ; apparent, Cymbeline, Hi. 4 ; light of deeds of, Mer- 
chant of Venice, v. 1. 

Good den (evening), King John, i. 1, and elsewhere. 

Goodfellow, Robin. See Puck. 

Good Friday, allusions to fasting on, King John, i. 1 ; I. Henry 
IV., i. 2. 

Goodness, a fever in, Measure for Measure, Hi. 2 ; may good- 
ness and he fill up one monument, Henry VIII., ii. 1 ; a kind of, in 
speaking well, Henry VIII., Hi. 2 ; brighter after ill behaviour, I. 
Henry IV., i. 2, end; a soul of, in things evil, Henry V., iv. 1; made 
a net for destruction, Othello, ii. 3, " And what's he," etc. 

Good-night, Passionate Pilgrim, xiv. ; a hurried, Macbeth, Hi. 
4 ; lovers', Romeo and Juliet, ii. 2 ; Venus and Adonis, I. 529. 

Good things, made too common, II. Henry IV., i. 2. 

Goodwins, Merchant of Venice, Hi. 1; King John, v. 3, 5. 
Sands off the coast of Kent, where the castle of Earl Goodwin was 
said to have been engulfed. 

Good year (supposed corruption of gougeres, a disease), Much 
Ado about Nothing, i. 3 ; King Lear, v. 3. 

Goose, the tailor's, Macbeth, ii. 3. 

Goose-quills, many wearing rapiers afraid of, Hamlet, ii. 2. 
Those who wrote plays for children to act. 

Gorboduc, King of Britain (perhaps), Twelfth Night, iv. 2. 

Gordian knot, the, Cymbeline, ii. 2 ; Henry V., i. 1. Gordius 
was a peasant, who was made King of Phrygia because the oracle 
had said that the future king should come in a wagon, and Gordius 
came driving into the public square in one just after the oracle had 
been received. He dedicated his wagon to Jupiter, and tied it up so 
that the ends of the knot could not be seen. It was believed that he 
who should untie the knot should be king of all Asia. No one suc- 
ceeded in untying it, but Alexander the Great cut it with his sword. 

Gorgon, a new, Macbeth, ii. 3 ; one way like a, Antony and 
Cleopatra, ii. 5. 

Gormandizing, Love's Labour's Lost, i. 1 ; Merchant of Ven- 
ice, ii 5 ; II. Henry I V., v. 5. 



INDEX TO SHAKSPERE'S WORKS. 143 

Gosford Green, near Coventry, scene of part of Richard II. 

Gossamer, symbol of lightness, Romeo and Juliet, ii. 6 ; King 
Lear, iv. 6. 

Gossips (sponsors), All's Well that Ends Well, i. 1 ; Midsum- 
mer- NigMs Dream, ii. 1; Henry VIII., v. 5; Romeo and Juliet, 
Hi. 5. 

Goths, wars of Rome against the, Titus Andronicus, i. 1. 

Gough. See Goffe. 

Gourd and fullam (false dice), Merry Wives of Windsor, i. 3. 
Fullam is conjectured to be from Fulham. either because they were 
made there, or because gamblers made that place a resort. They 
were loaded on one side, while the gourds were hollowed out, mak- 
ing a secret cavity. 

Government(s), deputed, Measure for Measure, i. 1 ; order in, 
like that of bees, Henry V., i. 2 ; that makes women seem divine, III. 
Henry VI., i. 4,' resigned, III. Henry VI, iv. 6. 

Gower, an officer in the army, character in II. Henry IV., intro- 
duced in ii. 1, and in Henry V., introduced in Hi. 2. 

Gower, John, the poet, author of "Confessio Amantis," from 
which the story of Pericles, Prince of Tyre, was taken, and therefore 
introduced as the chorus in that play. He died in 1408. 

Grace, forgot, makes all go wrong, Measure for Measure, iv. 4 ,' 
special, Love's Labour's Lost, i. 1 ; of men, more sought than God's, 
Richard III., Hi. 4 ; opposed to rude will, Romeo and Juliet, ii. 3 ; 
must look so, Macbeth, iv. 3. 

Grace before meat, Measure for Measure, i.2 ; Merry Wives, i. 1 ; 
not enough for a prologue to egg and butter, J. Henry I V., i. 2 ; used 
as the, Coriolanus, iv. 7 ; by cynics, Timon of Athens, i. 2 ; Hi. 6. 

Graceful (gracious), Antony and Cleopatra, ii. 2. 

Gracefulness, A Winter's Tale, iv. 3 or 4. 

Graces, some men's, are their enemies, As You Like It, ii. 3 ; 
a dumb discursive devil in, Titus Andronicus, iv. 4 / in herbs, Romeo 
and Juliet, ii. 3 ; her subjects, Pericles, i. 1. 

Grained (wrinkled), Comedy of Errors, v. 1. 

Grammar, sin of understanding, II. Henry VI, iv. 7. 

Grandam, give, kingdom, King John, ii. 1. 

Grandchildren, Richard III, iv. 4. 

Grandpre, a French lord in Henry V., first appears in iv. 2 ; 
his death, iv. 8. 

Grange (a large country house), Mariana in the moated, Meas- 
ure for Measure, Hi. 1 ; iv. 1. 



144: INDEX TO SHAKSPERE'S WORKS. 

Grass, grows fastest by night, Henry V., i. 1. 

Gratiano, a character in the Merchant of Venice, introduced in 
the first scene, a merry, talkative fellow, who, Bassanio says, " speaks 
an infinite deal of nothing, more than any man in all Venice " (i. 2). 

Gratiano, an unimportant character in Othello, introduced in v. 2. 

Gratitude, Macbeth, i. 3, " Your pains are registered " ; King 
Lear, iv. 7 ; for the poorest service, Taming of the Shrew, iv. 3 ; of 
an old servant, As You Like It, ii. 3 ; to heaven, II. Henry VI, ii, 1. 
See Thanks. 

Gratuity, indirect begging for a, Tico Gentlemen of Verona, 
i.l. 

Grave-diggers, characters in Hamlet, v. 1. 

Gravel-heart (stony heart), Measure for Measure, iv. 3. 

Grave(s), opened by magic — every third thought a, The Tempest, 
v. 1 ; with sorrow to the, Two Gentlemen of Verona, Hi. 1 ; opened, 
Midsummer-Night's Dream, Hi. 2; v. 2 ; Hamlet, Hi. 2 ; an old 
man asks a, Henry VIII, iv. 2 ; Julius Ccesar, ii. 2; Hamlet, i. 1; 
Hi. 2 ; wrestling in a, Hamlet, v. 1 ; silence of the, Titus Andronicus, 
i. 1 ; by the sea, a, Timon of Athens, iv. 3 ; v. 1, 3, 4 ; lovers at a, 
Romeo and Juliet, v. 3 ; position of, east and west, Cymbeline, iv. 2. 

Gravity, revolted to wantonness, Love's Labour's Lost, v. 2 ; af- 
fectation of, Merchant of Venice, i. 1. 

Graymalkin, the quasi-personal name for the cat, Macbeth, i. 1. 

Great, the, mercy in — privileges of — wit in, to jest with saints, 
Measure for Measure, ii. 2 ; have many blasts to shake them, Rich- 
ard III, i. 3 ; favour of, Richard III, Hi. 4; criticism of, Henry 
VIII, i. 2 ; griefs of, Henry VIII, ii. 3 ; one of, like a colossus, 
Julius Ccesar, i. 2 ; have countenance to suicide, Hamlet, v. 1 ; serv- 
ants of, King Lear. Hi. 1 ; ebb and flow of, King Lear, v. 3 ; pay 
for demerit of others, Antony and Cleopatra, v. 2. 

Greatness, rumours concerning, Measure for Measure, iv. 1; 
some achieve, Twelfth Night, ii. 5 ; Hi. 4 >' *>• 1 >' needs pruning, 
Richard II, Hi. 4 >' ingratitude of, I. Henry I V., iv. 3 ; v. 1 ; out 
of love with, II Henry IV., ii. 2 ; unsought, II. Henry IV., Hi. 1; 
highest point of. Henry VIII, ii. 2 ; farewell to, Henry VIII, Hi. 
2 ; fall of, Richard III, iv. 4; fallen out with fortune, Troilus and 
Cressida, Hi. 3 ; dangers of, Julius Ccesar, ii. 1 ; not independent, 
Hamlet, i. 3 ; the fall of, Hamlet, Hi. 3 ; the right, Hamlet, iv. 4 ; 
departing, Antony and Cleopatra, iv. 11 or 13; magnifies faults and 
merits, Lucrece, I. 1004. 

Greek (good fellow), Twelfth Night, iv. 1. 



INDEX TO SHAKSPERE'S WORKS. 145 

Greeks, the, war of, with the Trojans, Troilus and Cressida ; 
their ships, prologue ; strength and skill, i. 1 ; discord among, *. 3. 

Green, Sir Henry, a character in Richard II, first introduced in 
*. 3 ; his death, Hi. 2. 

Green, the colour of lovers, Love's Labour's Lost, i. 2. 

Greene, Robert. The name of the play, " The thrice three Muses 
mourning for the Death of Learning, late deceased in Beggary,'' 
offered to Theseus in Midsummer-Night 's Dream, v. 1, is by some 
supposed to refer to his death. See Sources. 

Green Sleeves, tune of, Merry Wives of Windsor, ii. 1 ; v. 5. 
The words of this old song are lost, but they are judged, from con- 
temporary allusions, to have been indecent. 

Greenwood Tree, Under the, song, As You Like It, ii. 5. 

Greeting. See Salutation. 

Gregory, one of Capulet's servants, character in Romeo and Ju- 
liet, appears in i. 1. 

Gregory, St., Two Gentlemen of Verona, iv. 2. Three popes of 
the name were canonized. 

Gregory, Turk, /. Henry IV., v. 3. Pope Gregory VII. 

Gremio, an ill-natured old man, suitor of Bianca in the Taming 
of the Shrew, introduced in i. 1. 

Grey, Elizabeth Woodville, Lady, afterward queen of Edward 
IV. See Elizabeth. 

Grey, Sir Richard (correctly John), spoken of in III. Henry VI., 
Hi. 2, as having lost his life in the cause of the house of York, and 
in Richard HI, i. 3, as a partisan of Lancaster. The latter is cor- 
rect. He fell at the first battle of St. Albans in 1455. His widow 
married Edward IV. 

Grey, Richard, Lord, son of Lady Elizabeth Grey, character in 
Richard III, first appears in i. 3 ; sent to execution, Hi. 3, 4; his 
ghost, v. 3. The Greys were hated as upstarts by the family of York, 
and the favour shown them by Edward IV. intensified the feeling. 

Grey, Sir Thomas, character in Henry V. He conspires with 
Cambridge and Scroop to murder the king, and is exposed and or- 
dered to execution in ii. 2. The conspiracy is mentioned in the 
prologue to the act. 

Grey, Thomas. See Dorset. 

Greyhounds, race by, Merry Wives of Windsor, i. 1. 

Grief(s), beauty's canker, The Tempest, i. 2 ; unspeakable, Com- 
edy of Errors, i. 1 ; every one can master a, but he that has it, Much 
Ado about Nothing, Hi. 2 ; one in, easily led, Much Ado about Noth- 



146 INDEX TO SHAKSPERE'S WORKS. 

ing, iv. 1; comfort in — patch with proverbs, Much Ado about Noth- 
ing, v. 1 ; that burns worse than tears drown, A Winter's Tale, ii. 1 ; 
what's past help, should be past, A Winter's Tale, Hi. 2 ; I. Henry 
IV., Hi. 3; III. Henry VI., v. 4; Macbeth, Hi. 2; Othello, i. 3; a 
throne, King John, Hi. 1 ; fills the room of the absent, King John, Hi. 
4 ; boundeth, Richard II, i. 2 ; counterfeit, Richard II, i. 4 ,' shad- 
ows of, Richard II, ii. 2 ; king of my, Richard II, iv. 1 ; eased by 
speech, Richard III, iv. 4>' Macbeth, iv. 3 ; a glistering, Henry 
VIII, ii. 3 ; overflowing, Titus Andronicus, Hi. 1 ; one, cured by 
another, Romeo and Juliet, i. 2 ; much of, shows some want of wit, 
Romeo and Juliet, Hi. 5 ; sin of excessive, Hamlet, i. 2 ; Hi. 2 ; expres- 
sion of, Hamlet, v. 1 ; fellowship in, King Lear, Hi. 6 ; full of, as age, 
King Lear, ii. 4 / to deal alone with, King Lear, iv. 3 ; folly of, for 
cureless ills, Othello, i. 3 ; great, medicine the less, Cymbeline, iv. 
2 ; our own forgotten in others', Pericles, i. 4 ; hath two tongues, 
Venus and Adonis, I. 1007 ; testy, Lucrece, I. 1094 >' best society for, 
Lucrece, I. 1111; dallied with, Lucrece, I. 1120 ; at grievances fore- 
gone, Sonnet xxx. ; the greatest first, Sonnet xc ; blows a man up, /. 
Henry IV., ii. 4,' weighed with wrongs, II. Henry IV, iv. 1; soft- 
ens the mind, II. Henry IV., iv. 4 ; moderation in, Troilus and 
Cressida, iv. 4 ,' speechless, Macbeth, iv. 3. See Sorrow and Tears. 

Griffith, Richard, Queen Katherine's gentleman usher in Henry 
VIII, introduced in ii. 4 ; his eulogy on Wolsey, iv. 2. 

Grise (step, degree), Othello, i. 3, and elsewhere. 

Grissel, Taming of the Shrew, ii. 1. The patient Griselda, 
whose story is told by Boccaccio and by Chaucer. 

Groans, Richard II, i.2 ; v. 1; Lear, Hi. 2 ; of a deer, As You 
Like It, ii. 1. 

Groat, a half -faced, King John, i. 1. A coin first issued in the 
reign of Henry VII., having a profile on it. 

Groom, of Richard II, a faithful servant who comes to the de- 
posed king in prison, and expresses his grief because Eichard's horse 
had carried Henry on his coronation-day. 

Groundlings, split the ears of, Hamlet, Hi. 2. 

Grudge, to feed an ancient, Merchant of Venice, i. 3. 

Gruniio, an oddly witty servant of Petruchio in the Taming of 
the Shrew, introduced in *. 2. 

Gualtree Forest, II. Henry IV., iv. 1. 

Guarded (trimmed), Merchant of Venice, ii. 2, and elsewhere. 

Guards, priestly, princely, or precise, Measure for Measure, Hi. 
1. The original reads prenzie, variously supposed to be a mistake 



INDEX TO SHAKSPERE'S WORKS. 147 

for the three words above. Guards were facings or trimmings, and 
the passage refers to the decorousness of the deputy's dress. Precise 
was used in the sense of puritanical. 

Guiana, a region in, Merry Wives of Windsor, i. 3. 

Guiderius and Arviragus, sons of Cymbeline, introduced in 
in. 3. They pass under the names of Polydore and Cadwal as sons 
of Belarius, who stole them in their infancy in revenge for his ban- 
ishment. Their longing for war, iv. 4; bravery, v. S ; they are dis- 
covered and knighted, v. 5. 

Guildenstern, a courtier in Eamlet, introduced in ii. 2. See 

RoSEXCRAXTZ. 

Guildford, Sir Henry, character in Henry VIII., introduced in 
t. 4, son of one of the Guildfords mentioned in Richard III. 

Guildfords, the, Richard III., iv. 4. Sir John and his son Sir 
Richard. 

Guildhall, Richard III, Hi. 5. 

Guilt, consciousness of, King John, iv. 2 ; jealousy of, Hamlet, 
iv. 5 (or 2); revelations of, in the tempest, King Lear, Hi. 2 ; who 
is quite free from, Othello, Hi. 3 ; to be read in the face, Othello, v. 
1 ; makes cowardly, Cymbeline, v. 2. See Conscience, Remorse. 

Guines, in Picardy, Henry VIII, i. 1. 

Guinevere, Love's Labour's Lost, iv. 1. The wife of King Ar- 
thur. 

Gulls (fools), Twelfth, Night, v. 1; Henry V., Hi. 6 ; Timon of 
Athens, ii. 1 ; Othello, v. 2 ; also used for a trick, as in Much Ado 
about Nothing, ii. 3; I. Henry IV., v. 1, "That ungentle gull." 
Gull is a provincial name for a nestling. 

Gun-stones. See Cannon-balls. 

Gurnet, a soused, I. Henry IV., iv. 2. Used as a term of con- 
tempt. A gurnet is a sea-fish used for food. 

Gurney, James, servant of Lady Faulconbridge in King John, 
appears in the first scene. 

Guy, Sir, Henry VIII, v. 3. Sir Guy of Warwick, a crusader of 
the tenth century, of whose prowess fabulous stories were told. 

Haberdasher, a, a character in The Taming of the Shrew, iv. 3. 

Habit, Two Gentlemen of Verona, v. 4 ; Hamlet, Hi. 4 ; Othello, 
i.3. 

Hack. See Knighthood. 

Hacket, Marian and Cicely, an alewife and her maid, men- 
tioned, laming of the Shrew, induction, 2. 



14:8 INDEX TO SHAKSPERE'S WORKS. 

Haggards (wild hawks), Much Ado about Nothing, Hi. 1 ; Tam- 
ing of the Shrew, iv. 1 ; Twelfth Night, Hi. 1 ; Othello, Hi. 3. 

Hair, the, raised with fright, The Tempest, i. 2 ; II. Henry VI., 
Hi. 2 ; Richard III., i. 3 ; Macbeth, i. 3 ; v. 5 ; Hamlet, Hi. 4 ; of 
professions, Merry Wives of Windsor, H. 3 ; why time takes, more, 
than wit, Comedy of Errors, H. 2 ; Two Gentlemen of Verona, Hi. 
2 ; golden, Merchant of Venice, i. 1 ; false, Merchant of Venice, Hi. 
2 ; Henry V., Hi. 7 ; Timon of Athens, iv. 3, "Thatch your poor, 
thin roofs," etc. ; Sonnet Ixviii. ; flaxen, Twelfth Night, i. 3 ; con- 
ceit of friendship in, King John, Hi. 4 ; used for character, com- 
plexion, I. Henry IV., iv. 1 ; of Judas, As You Like It, Hi. 4; allu- 
sion to the belief that a hair turns to a snake in water, Antony and 
Cleopatra, i. 2 ; dishevelled, Lover's Complaint, I. 29. 

Hal, Prince. See Henry V. 

Halcyon beaks, King Lear, H. 2. Allusion to the belief that 
the turns of the halcyon's beak indicate changes in the weather. 

Halcyon days, I. Henry VI, i. 2. These were fourteen days 
in winter, when, as was supposed, the halcyon builds its nest, and 
the sea is calm. Hence it is used for days of peace. 

Half Can, a prisoner, Measure for Measure, iv. 3. 

Half Moon, a room in an inn, I. Henry IV., ii. 4> 

Halidom (holy dame or holy dom ?), Henry VIII., v. 1. 

Hallowmas (All-Saints' Day), Richard II., v. 1 ; a beggar at, 
Two Gentlemen of Verona ii. 1, 2. 

Hamlet is introduced in i. 2 of the play of the name. Amlettus, 
Amleth, and Hamblet are older forms of the name. In i. 4 he sees 
the ghost of his father, and in i. 5 learns the manner of his death 
and vows revenge ; his soliloquy, Hi. 1 ; he learns by his artifice with 
the players, Hi. 2, that there is no mistake about the king's guilt ; 
feigns madness, kills Polonius by mistake for the king, Hi. 4 ,' is sent 
to England, iv. 3 ; returns, iv. 6 ; at Ophelia's grave, v. 1 ; fights 
with Laertes and dies, v. 2. 

" I believe the character of Hamlet may be traced to Shakspere's 
deep and accurate science in mental philosophy. Indeed, that this 
character must have some connection with the common fundamental 
laws of our nature may be assumed from the fact that Hamlet has 
been the darling of every country in which the literature of England 
has been fostered. ... In Hamlet he seems to have wished to exem- 
plify the moral necessity of a due balance between our attention to 
the objects of our senses, and our meditation on the workings of our 
minds, an equilibrium between the real and the imaginary worlds. 
In Hamlet this balance is disturbed : his thoughts and the images of 
his fancy are far more vivid than his actual impressions, and his very 



INDEX TO SHAKSPERE'S WORKS. 149 

perceptions, instantly passing through the medium of his contem- 
plations, acquire as they pass a form and a colour not naturally their 
own. Hence we see a great, an almost enormous intellectual activity, 
and a proportionate aversion to real action consequent upon it, with 
all its symptoms and accompanying qualities. This character Shak- 
spere places in circumstances where it is obliged to act on the spur 
of the moment ; Hamlet is brave and careless of death ; but he vacil- 
lates from sensibility and procrastinates from thought, and loses the 
power of action in the energy of resolve. . . . Shakspere seems to 
mean all Hamlet's character to be brought together before his final 
disappearance from the scene ; his meditative excess in the grave- 
digging, his yielding to passion with Laertes, his love for Ophelia 
blazing out, his tendency to generalize on all occasions in the dia- 
logue with Horatio, his fine gentlemanly manners with Osric, and his 
and Shakspere's own fondness for presentiment : ' But thou wouldst 
not think how ill all's here about my heart : but it is no matter.' " — 
Coleridge. 

Hamlet, Prince of Denmark, a tragedy first published in 1603 
in a meagre form, either Shakspere's first draft of the play, or an 
unauthorized version made up from parts supplied to actors, proba- 
bly the former. In its enlarged form it appeared in 1604, and in 
two or three later editions before the folio of 1623 was published. 
The first appearance of the story of Hamlet, so far as is known, was 
in the " Historia Danica " of Saxo Grammaticus, a Danish historian, 
who wrote it about 1204. A version of the story in Italian by Ban- 
dello was translated into French by Belleforest, from which it was 
rendered into English, though no earlier edition of the English trans- 
lation is known than one of 1608. Besides these there was an older 
play in English on the subject, which has not come down to us. In 
the " Hystorie of Hamblet " the time is placed before the introduc- 
tion of Christianity into Denmark, and in fact before Christ. Shak- 
spere leaves the time indefinite, though the characters are Christians. 
The period of action seems to be but a few months. None of the 
plays has excited more interest or more study and criticism. There 
is an opinion that the main characters were intended for portraits 
more or less exact of personages of Shakspere's own time, Hamlet 
himself being referred to Sir Philip Sidney. 

Hames Castle, III. Henry VI., v. 5. 

Hampton, Henry V., ii. 2. 

Hand, in any (at any rate), AIVs Well that Ends Well, Hi. 6. 

Hand-fast (troth-plight), Cymbeline, i. 5. 

Hand(s), Cressida's, Troilus and Cressida, i. 1 ; indications in, 
Comedy of Errors, Hi. 2 ; Merchant of Venice, ii. 2 ; Othello, Hi. 4 ; 
Antony and Cleopatra, i. 2 ; beauty of, Venus and Adonis, I. 361 ; 



150 INDEX TO SHAKSPERE'S WORKS. 

Lucrece, I. 393 ; blood on, Macbeth, ii. 2 ; v. 1 ; Richard 11,, ii. 1 ; 
proper fellow of my (tall and well made), II. Henry IV., ii. 2 ; Win- 
ter's Tale, v. 2. 

Handkerchief, Desdemona's, Othello, Hi. 3, 4. 

Handwriting, a fair, held base, Hamlet, v. 2. 

Hanged, born to be, The Tempest, i. 1; v. 1 ; Two Gentlemen 
of Verona, i. 1 ; never undone till, Two Gentlemen of Verona, ii. 5. 

Hanger-on, a, Much Ado about Nothing, i. 1. 

Hanging, comfort in, Cymbeline, v. 4 ; many a good, prevents a 
bad marriage, Twelfth Night, i. 5. 

Hannibal, Measure for Measure, ii. 1 ; I. Henry VI, i. 5. 

Happiness, seen through another's eyes, As You Like It, v. 2 ; 
achieved in not being over-happy, Hamlet, ii. 2 ; by virtue, Taming 
of the Shrew, i. 1 ; brevity of, Lucrece, I. 22 ; of kings, Henry V., 
iv. 1 ; absolute, Othello, ii. 1. 

Happy man be his dole, proverbial expression, Taming of the 
Shrew, i. 1, and elsewhere. 

Harcourt, character in II. Henry IV., first appears in iv, 4. 
He is on the side of the king, and brings news of Northumberland's 
defeat. Perhaps Sir Thomas Harcourt. who was Sheriff of Berkshire. 

Hardships, cheerful acceptance of, Henry V., iv. 1. 

Hare, the melancholy, I. Henry IV., i. 2 ; the hunted, Venus 
and Adonis, I. 679, et seq. 

Harebell, the, Cymbeline, iv. 2. 

Hare-lip, Midsummer-Nighfs Dream, v. 2 ; Lear, Hi. 4. Sup- 
posed to be caused by malignant fairies. 

Harfleur, in France, six miles from Havre, scene of a part of 
Henry V. ; its surrender, Hi. 3. 

Harfleur, Governor of, a character in Henry V, first appears in 
Hi. 3, where he surrenders the town to the English (1415). 

Ha'rford West (Haverford West), Richard III, iv. 5. 

Hark, hark, the lark, song, Cymbeline, ii. 3. 

Harm, to do, is often laudable, Macbeth, iv. 2. 

Harmony, in parts working to one end, Henry V., i. 2 ; of the 
spheres, Merchant of Venice, v. 1. 

Harpy, like the, Pericles, iv. 3 (or 4). 

Haste, too great, Coriolanus, Hi. 1, " unscanned swiftness." 

Hastings, Lord, character in II. Henry IV., first appears in i. 
3. He is one of the party opposed to the king. He was not Lord 
but Sir Ralph Hastings. 

Hastings, William, Lord, character in 111. Henry VI, intro- 



INDEX TO SHAKSPERE'S WORKS. 151 

duced in iv. 1 ; and again in Richard III., introduced in i. 1. He 
was a favourite of Edward IV., and supposed himself to be in favour 
with Richard, who, however, ordered him to execution, Hi. 4, proba- 
bly because he saw that Hastings would not go with him in his in- 
tended crimes against his nephews. The accusations made against 
him are in Hi. 5, 6 ; his ghost appears to Richard, v. 3. The charac- 
ter of Hastings in the play is frank, open, and unsuspicious ; on his 
way to execution he recalls the Curses invoked on him by Queen 
Margaret for looking on at the murder of her son, i. 3. It was not 
he, but his son, Edward Hastings, who married the daughter of Sir 
Thomas Hungerford (iv. 1). Lord William Hastings rebuilt the 
castle of Ashby de la Zouch, mentioned in " Ivanhoe." 

Hat, a fantastic, Taming of the Shrew, Hi. 2. 

Hatched, in silver, Troilus and Cressida, i. 3. Inlaid with fine 
lines of silver. 

Hatred, Shylock's, for Antonio, Merchant of Venice, i. 3 ; Hi. 
3; of a tyrant, Richard III., i. 1 ; iv. 4; of Aufidius, Coriolanus, 
i. 10 ; Hi. 1 ; of the plebeians, Coriolanus, H. 1 ; of the race, Mac- 
beth, iv. 3, "Had I power," etc.; nought in, Othello, v. 2; not for 
you, Sonnet cxlv ; Margaret's, for York, III. Henry VI., i. 4- 

Haud credo (I do not believe), Love's Labour's Lost, iv. 2. 

Have I caught my heavenly jewel ? Merry Wives of Wind- 
sor, Hi. 3. Quotation from Sidney's " Arcadia." 

Havoc, cry, King John, ii. 1 ; Coriolanus, Hi. 1 ; Julius Cwsar, 
Hi. 1 ; a signal for slaughter. 

Hawking, allusions to : prune herself and bristle up the crest, 
I. Henry IV., i. 1; you must be watched, Troilus and Cressida, Hi. 
2 ; hawks were tamed by being kept from sleeping. See also Fal- 
conry. 

Hawthorn-buds (ladies' men), Merry Wives of Windsor, Hi. 3. 

Hay (a boisterous dance). Love's Labour's Lost, v. 1. 

Hazard, edge of, All's Well that Ends Well, Hi. 3. 

Head, the gate of the mind, King Lear, v. 4. 

Head, of the first (in its fifth year), Love's Labour's Lost, iv. 2. 

Heart, a merry, goes all the way, song, A Winter's Tale, iv. 2. 

Heart-break, Antony and Cleopatra, iv. 12 or 14. 

Heart(s), how won, I. Henry IV., Hi. 2 ; a good, Henry V., v. 
2 ; flinty, Richard III., i. 3 ; a thousand, Richard III., v. 3 ; seat 
of the brains (an old belief), Coriolanus, i. 1 ; for the event, Corio- 
lanus, ii. 1; ruddy drops that visit my sad, Julius Caisar, ii. 1; 
throw away the worser part, Hamlet, Hi. 4 ; now cracks a noble, 
14 



152 INDEX TO SHAKSPERE'S WORKS. 

Hamlet, v. 2 ; cause in nature for hard, King Lear, Hi. 6 ; burst 
smilingly, King Lear, v. 3 ; wear ray, upon my sleeve, Othello, i. 1 ; 
pursed up his, Antony and Cleopatra, ii. 2 ; empty of all but grief, 
Cymbeline, Hi. 4 ; a quiet cabinet — seat of sensation, Lucrece, I. 442 ; 
a light, lives long, Love's Labour's Lost, v. 2 ; courage of an inno- 
cent, II. Henry VI, Hi. 1, 2. 

Heaven, served worse than self, Measure for Measure, ii. 2 ; 
splits the oak rather than the myrtle, Measure for Measure, ii.. 2 ; 
in the mouth, evil in the heart, Measure for Measure, ii. 4 ; an am- 
bassador to, Measure for Measure, Hi. 1 ; the sword of, Measure for 
Measure, Hi. 2 ; appeal to the justice of, Measure for Measure, v. 
1; help of, AWs Well that Ends Well, i. 1, last paragraph ; ii. 1; 
recognition in, King John, Hi. 4 ; comfort in, Richard II., H. 2 ; 
aids given by, Richard II, Hi. 2, 3 ; help of, III. Henry VI, iv. 1; 
Pericles, i. 4; o'er our heads, Richard II, Hi. 3 ; above all yet, 
Henry VIII, Hi. 1 ; deaf to sorrow, Titus Andronicus, iv. 1 ; tempt- 
ing, Julius Caesar, i. 3 ; no bribery before, Hamlet, Hi. 3 ; appeal to, 
King Lear, ii. 4; judgment of, King Lear, v. 3 ; fire from, Pericles, 
ii. 4. 

Hebenon (henbane *?), Hamlet, i. 5. 

Hecate, in Macbeth, appears in Hi. 5 ; iv. 1 ; that railing, 1. 
Henry VI, Hi. 2 ; ban of, Hamlet, Hi. 2 ; King Lear, i. 1. 

Hector, son of Priam, the great Trojan hero, and one of the 
most exalted characters in classic literature, is introduced in Troilus 
and Cressida, i. 2, where he is described, and said to have been struck 
down by Ajax. His challenge to the Greeks, i. 3 ; fight with Ajax, 
iv. 5 ; bravery in the field, v. 5 ; his death, v. 9; dragged by Achilles, 
v. 10 ; mentioned, Merry Wives of Windsor, i. 3 ; ii. 3 ; Love's La- 
bour's Lost, v. 2 ; II Henry IV., ii. 4> Coriolanus. i. 3, 8 ; I. 
Henry VI, ii. 3 ; III Henry VI, iv. 8 ; Antony and Cleopatra, iv. 
8 ; in a painting, Lucrece, lines 1430, i486. 

Hecuba, Queen, Troilus and Cressida, i. 2 ; Coriolanus, i. 3 ; 
Titus Andronicus, iv. 1 ; Cymbeline, iv. 2 ; witnessing Priam's death 
— an actor's grief for, Hamlet, ii. 2 ; in a painting, Lucrece, lines 
1447, 1450, 1485. 

Hedge (as a verb), Merry Wives of Windsor, ii. 2, and elsewhere. 

Hedgehogs, or urchins, Midsummer-Night's Dream, ii. 2; 
Richard III, i. 2 ; Macbeth, iv. 1 ; Tempest, ii. 2. 

Hedge-priest, Love's Labour's Lost, v. 2, " The pedant, the brag- 
gart," etc. 

Hefts (heavings), A Winter's Tale, ii. 1. 



INDEX TO SHAKSPERE'S WORKS. 153 

Heigh-ho ! (refrain of a song), As You Like It. ii. 7. 

Heirloom, an, AWs Well that Ends Well, iv. 2 ; v. 2. 

Helen, wife of Menelaus, King of Sparta. She chose him from 
among many suitors, all of whom took an oath, before her decision 
was made, to defend and avenge her if necessary, whatever her 
choice might be. Paris persuaded her to elope with him to Troy, 
and from this arose the Trojan war. She is talked of in Troilus 
and Cressida, i. 2 ; the question of giving her up discussed in ii. 
2 ; she is introduced in Hi. 1; at the end of iv. 1, Diomedes bitterly 
estimates her cost to Greece and Troy; mentioned, As You Like 
It. Hi. 2, song ; AWs Well that Ends Well, i. 3, song ; III. Henry 
VI, ii. 2; Lucrece, I. 1368; Sonnet liii ; Midsummer - Night's 
Dream, v. 1. 

Helen, Imogen's attendant in Cymbeline, introduced in ii. 2. 

Helena, character in Midsummer-Night's Dream, introduced in 
*. 1. She is in love with Demetrius, who loves Hermia, who again is 
in love with Lysander. Lysander returns Hermia's love, except for 
a short time, when he is under the enchantment produced by the 
fairies, when he loves Helena. In her self-distrust she thinks it is a 
jest put upon her by Hermia and her lover. In character she is 
gentler than Hermia, but not altogether generous, as she runs off to 
tell of Hermia's elopement. The smaller girl, in her jealousy, calls 
Helena a " painted Maypole." 

Helena, heroine of AWs Well that Ends Well, introduced in 
the first scene. Taking the repulsive role of the heroine of the origi- 
nal tale, Shakspere has portrayed a character of great sweetness and 
strength. Helena is at the same time clever and self-sacrificing, 
meek and high-spirited, willing to renounce if necessary, and yet 
quick to see the way to win, and firm and clear-headed in availing 
herself of it. Many of the most beautiful passages of the play are 
put into her mouth and express her " pious trust and persevering, 
steadfast nature, which from her youth up, on account of her lowly 
position, has rendered her self-dependent," the depth and at the 
same time the straightforward simplicity of her character. 

Helenus, son of Priam, character in Troilus and Cressida, in- 
troduced in i. 2 ; satirized by Troilus, ii. 2. 

Helicanus, a lord of Tyre, in Pericles, introduced in i. 2. He is 
an adviser of the prince ; refuses the crown, ii. 4. " A figure of 
truth, of faith, of loyalty." 

Helicons, II. Henry 1 V., v. 3. Helicon was the mountain of 
the Muses. 



154 INDEX TO SHAKSPERE'S WORKS. 

Hell, set on fire, Merry Wives of Windsor, v. 5 ; cunning livery 
of, Measure for Measure, Hi. 1 ; gate of, Much Ado about Nothing, 
ii. 1 ; what hole in, hot enough, 7. Henry IV., i. 2 ; a fate to re- 
mind of, I. Henry 1 V, Hi. 3 ; dream of, Richard III., i. 4. ; the 
porter imagines himself keeper of the gate of, Macbeth, ii. 3. 

Hell (cant for prison), Comedy of Errors, iv. 2. 

Hellespont, the, Two Gentlemen of Verona, i. 1. The strait 
between the Mediterranean and the Sea of Marmora. 

Hemlock, Macbeth, iv. 1; perhaps the "insane root" men- 
tioned in Macbeth, i. 3. 

Henry, Kings, IV., V., VI., and VIII., dramas of. See King 
Henry IV., etc. 

Henry, Prince, son of King John, appears in the last scene of 
King John, speaking as a man. In truth, he was but nine years old 
when his father died in 1216. He reigned under the title of Henry 
HI. 

Henry IV., first of the Lancastrian kings. He was the son of 
John of Gaunt, Duke of Lancaster, and was born in 1366, died in 1413. 
He is a character in Richard II., as well as in the plays that bear 
his name. In the former play he is called Bolingbroke, a title given 
him from the name of the town where he was born. He was Duke 
of Hereford during Richard's reign. In Richard II. he appears in 
the first scene in a quarrel with Norfolk concerning the murder of 
his uncle, the Duke of Gloucester. His meeting with Norfolk, i. 
3. His intended marriage is spoken of in ii. 1. He was to marry 
the cousin of the French king, but Richard hearing of it sent Salis- 
bury to prevent it. Richard was forced to resign the crown, and 
Henry was proclamed, iv. 1. A plot against his life was discovered 
by York, v. 2. In I. Henry 1 V. he is introduced in the first scene ; 
in II. Henry IV. in iii. 1. The rebellion of the Percys and their 
party embittered his reign, and the wildness of his eldest son was a 
continual grief to him — evils which he believed sent on him in pun- 
ishment of his usurpation and in fulfilment of the curse of Richard 
11. He intended to go on a crusade, but was prevented by the re- 
bellion. A prophecy had told him he was to die in Jerusalem — a 
prophecy he understood when he found that the chamber where he 
was taken with his last illness was called the Jerusalem Chamber, 
after a fashion of naming the rooms of inns. Henry IV. is brave 
and wise in action, but at times morbid, distrustful, and suspicious ; 
prompt and noble at decisive moments, he frets away his leisure with 
remorse and apprehension. 



INDEX TO SHAKSPERE' S WORKS. 155 

Henry V., called Henry of Monmouth and Prince Hal, son of 
Henry IV., born at Monmouth in 1388, reigned from 1413 to 1422. 
He is a character in the two parts of Henry IV, as well as in the 
play that bears his name. His dissoluteness is spoken of in Richard 
II., v. 3, where he is mentioned as a young man, though in reality 
only eleven years of age at that time. In I. Henry 1 V. he is in- 
troduced in i. 2, and his mad pranks with his wild comrades are 
represented in that play. In act v. he shows unexpected bravery in 
the battle of Shrewsbury. In II. Henry IV. he appears first in 
ii. 2. In the close of that scene he soliloquizes on the company he 
keeps and his reasons and intentions. He is described by Falstaff in 
ii. 4. His father's forebodings as to his reign are expressed in iv. 4; 
those of the Chief Justice, in v. 2. At his father's death he reforms, 
v. 2 and 5 ; dismisses his low companions, and becomes one of the 
most successful and the best loved of English sovereigns. His 
versatility, Henry V., i. 1 ; his reputation, ii. 4 ; among his soldiers, 
iv., chorus ; his piety, iv. 1, 8 ; v., chorus ; at Agincourt, act iv. ; his 
wooing, v. 2 ; his funeral, I. Henry VI., %. 1 ; his wars in France, 
II. Henry VI., i. 1. 

" The prince, whom Shakspere admires and loves more than 
any other person in English history, afterward to become Shakspere's 
ideal King of England, cares little for mere reputation. He does not 
think much of himself and of his own honour ; and while there is 
nothing to do, and his great father holds all power in his own right 
hand, Prince Hal escapes from the cold proprieties of the court to 
the boisterous life and mirth of the tavern. He is, however, only 
waiting for a call to action, and Shakspere declares that from the 
first he was conscious of his great destiny, and, while seeming to 
scatter his force in frivolity, was holding his true self, well guarded, 
in reserve." — Dowden. 

Henry VI., King (1421-1471), character in the three plays that 
bear his name. He was but nine months old when his father died, 
though in the first part, Hi. 4, he speaks of remembering what his 
father said of Talbot. He is introduced in Hi. 1 ; his coronation at 
Paris (December 17, 1431), first part, iv. 1 ; his marriage with Margaret 
of Anjou (1445), second part, i. 1 ; his bookish rule, second part, i. 1, 
end; his piety, i. 3 ; York's opinion of him, v. i; his cowardice, 
third part, i. 1; his leniency and conscientiousness, ii. 2; his ill 
success in the field, ii. 2, 5 ; his weakness, ii. 6 ; his return from 
Scotland (1465) and capture, Hi. 1, 2. In iv. 6, he makes a prophecy 
concerning Richmond (Henry VII.), who when he became king asked 
the pope to canonize Henry VI. on account of it ; but the pope re- 



156 INDEX TO SHAKSPERE'S WORKS. 

fused, on the ground that Henry's saintliness was united with so 
much weakness that to canonize him would bring saintship into con- 
tempt. His kindness to his subjects, third part, iv, 8 ; his death, v. 
6. During his reign England lost all that she had gained in France 
under Henry V., and all that was done to save his crown at home 
was done by his queen — who, however, was very unpopular — and by 
the partisans of his house. They were successful in the battle of 
Wakefield, but were defeated at St. Albans, Bloreheath, Northampton, 
Towton, Hexham, Barnet, and Tewksbury. It was commonly be- 
lieved that Henry was killed by Gloucester, as in the play. The re- 
moval of his body to Chertsey, Richard III., i. 2 ; his ghost, v. 3. 

Henry VII. See Richmond. 

Henry VIII. (1491-1547), King, enters in the second scene of 
the play that bears his name. The divorce from Katherine is talked 
of in ii. 1, is the subject of ii. 2, and is tried in ii. 4; his marriage 
with Anne Boleyn, Hi. 2 ; befriending of Cranmer, v. 3. 

" Henry, if we judge him sternly, is cruel and self-indulgent ; but 
Shakspere will hardly allow us to judge Henry sternly. He is a 
lordly figure, with a full, abounding strength of nature, a self-con- 
fidence, an ease and mastery of life, a power of effortless sway, and 
seems born to pass on in triumph over those who have fallen and are 
afflicted." — Dowden. 

Henry IV., of France, Comedy of Errors, Hi. 2. Allusion to 
the war in regard to his succession, 1589-'93. 

Hent, a more horrid, Hamlet, Hi. 3. Hold, opportunity, or to 
take hold, Measure for Measure, iv. 6. 

Henton (or Hopkins), Nicholas, Henry VIII, i. 1, 2 ; ii. 1. His 
name was Hopkins, the name of the monastery Henton. 

Herald, at a masquerade, Love's Labour's Lost, v. 2. 

Heraldry, allusions to : bear for a difference. A difference is 
a mark added to a coat of arms to distinguish branches of a family 
or the sons of one family. Much Ado about Nothing, i. 1; my golden 
coat, Lucrece, I. 205, an anachronism ; our new, Othello, iii. 4. Al- 
lusion to the red hand on the arms of Ulster, which were placed on 
the escutcheon of baronets of a new order instituted by James I. 
for the purpose of subduing Ulster ; the dozen white luces in their 
coat, Merry Wives of Windsor, i. 1. The arms of the Lucy family 
(q. r.) bore three pikes or luces. 

Herbert, Sir Walter, character in Richard III, first appears in 
v. 2 ; mentioned in iv. 5 as having gone to Richmond. He was a 
son of the Earl of Pembroke in 111. Henry VI. 



INDEX TO SHAKSPERE'S WORKS. 157 

Herbert, William, Earl of Pembroke. See Pembroke. 

Herb of grace, or rue, Richard II., Hi. 4 ; Hamlet, iv. 5. 

Herbs, to remove error, Midsummer-Night's Dream, Hi. 2; 
salad and nose, All's Well that Ends Well, iv. 5 ; virtues of, Romeo 
and Juliet, ii. 3. 

Hercules, bully, Merry Wives of Windsor, i. 3; labours of, 
Much Ado about Nothing, ii. 1, near the end ; made to turn a spit, 
Much Ado about Nothing, ii. 1 ; Love's Labour's Lost, i. 2 ; whip- 
ping a top— love a, Love's Labour's Lost, iv. 3 ; incorrectly placed 
among the nine worthies, Love's Labour's Lost, v. 1, 2; alluded to, 
Midsummer- Night's Dream, iv. 1; v. 1; Merchant of Venice, ii. 1; 
invoked, As You Like It, iv. 3 ; I. Henry IV., ii. 4,' III Henry VI., 
ii. 1 ; if you had been the wife of, Coriolanus, iv. 1 ; did shake down 
mellow fruit, Coriolanus, iv. 6, allusion to the gardens of the Hes- 
perides; and his load, Hamlet, ii. 2 ; Hercules bearing the globe was 
the sign of the Globe Theatre ; leaving Antony, Antony and Cleo- 
patra, iv. 3. 

Hereafter, the all-hail, Macbeth, i. '5. 

Heredity, none of treason, As You Like It, i. 3 ; All's Well 
that Ends Well, i. 1, "His sole child," etc., and "Be thou blest, 
Bertram, and succeed thy father," etc. 

Hereford, earldom of, promised to Buckingham, who claimed 
it as his by right of inheritance from his ancestor, Thomas of Wood- 
stock, Richard III., Hi. 1 ; the promise urged, iv. 2. 

Hereford, Henry of (Bolingbroke, afterward Henry IV.), Rich- 
ard II., i. 1. 

Heretics, could not die by drowning, Romeo and Juliet, i. 2. 

Heresy, hated most by the deceived, Midsummer-Night's Dream, 
ii. 2 ; Cranmer accused of, Henry VIII, v. 1, 2. 

Hermia, a character in the Midsummer-Night's Dream. She is 
beloved by Lysander and Demetrius, and loves Lysander. Her vix- 
enish spirit comes out principally in her quarrels with the taller 
and gentler Helena. She is introduced in the first scene. 

Hermione, heroine of the first part of A Winter's Tale, wife of 
Leontes and daughter of the Emperor of Russia. Her character is 
one of the noblest among Shakspere's women, of mingled sweetness, 
forbearance, and dignity, strong and calm. See Imogen. 

Hermits, your (beadsmen to pray for you), Macbeth, i. G ; Cym- 
beline, Hi. 6, " Great men," etc. 

Hermit-life, Timon of Athens, iv. 3. 

Heme, the hunter, his oak in Windsor Forest, Merry Wives of 



158 INDEX TO SIIAKSPERE'S WORKS. 

Windsor, iv. 4 ; v. 5. The tree shown as Heme's oak was so decayed 
in 1795 that it was cut down by the king's order. 

Hero, of war, a, his defects shown in peace, Coriolanus, iv. 7 ; a 
pretended, Henry V., Hi. 6 ; a true, II. Henry IV., ii. 3 ; Henry 
V., i. 2 ; Troilus and Cressida, iv. 5. 

Hero, of Sestos, As You Like It, iv. 1 ; her tower, Two Gentle- 
men of Verona, Hi. 1 ; Romeo and Juliet, ii. 4. 

Hero, daughter of Leonato, Governor of Messina, one of the 
principal characters in Much Ado about Nothing, introduced in the 
first scene. Benedick describes her appearance at about the middle 
of the scene. Her mildness and gentleness are sharply contrasted 
with the fire and spirit of Beatrice, but her wit and power of expres- 
sion are shown in the scene, Hi. 1, where she is exaggerating her 
cousin's faults, to be overheard by her, and to carry out the trick 
against her and Benedick. 

Herod, of Jewry, Merry Wives of Windsor, ii. 1; Henry V., 
Hi. 2 ; Antony and Cleopatra, i. 2 ; Hi. 3, 6 ; iv. 6 ; out-Herods, 
Hamlet, Hi. 2. Herod was a frequent character in the miracle-plays. 

Heroines, of poetry, Romeo and Juliet, ii. 4. 

Heronshaw, or hernshaw, perhaps the " hand-saw " of the prov- 
erb, Hamlet, ii. 2. 

Herring, a shotten, I. Henry IV., ii. 4- One that has cast its 
spawn and looks thin. 

Hesperides, gardens of the, Love's Labour's Lost, iv. 3 ; Peri- 
cles, i. 1. In those gardens were the golden apples given to Juno at 
her marriage by the goddess of the Earth, which were under the care 
of the daughters of Hesperis, assisted by a watchful dragon. 

Hesperus, sleepy lamp of, AIVs Well that Ends Well, ii. 1. 

He that has and a little, song, King Lear, Hi. 2. 

Hey Robin, song by Sir Thomas Wyatt, Twelfth Night, iv. 2. 

Hie et ubique (here and everywhere), Hamlet, i. 5. 

Hie ibat Simois, etc., from Ovid, Taming of the Shrew, Hi. 1. 
" Here Simois flowed ; here was the Sigeian land ; here stood the 
lofty realm of old Priam." 

Hie jacet, or, AWs Well that Ends Well, Hi. 6. " Here lies." 

Hide, your, and you, King John, ii. 1. Austria was represented 
as wearing the lion's skin taken from Richard. 

Highwaymen, St. Nicholas's clerks — Trojans, I. Henry IV., ii. 
1 ; gentlemen of the shade, minions of the moon, /. Henry IV., i. 2. 
See Outlaws. 

Highway robbery, 7. Henry IV., ii. 2 ; As You Like It, ii. 3. 



INDEX TO SHAKSPERE'S WORKS. 159 

Hilding (cowardly), II. Henry IV., i. 1 ; Henry V., iv. 2. 

Hilding (a coarse girl), Taming of the Shrew, ii. 1. 

Hill, perpendicular, o' horseback up a, I. Henry IV., ii. 4. 

Hind, the, that would mate with the lion, AIVs Well that Ends 
Well, i. 1. 

Hip, to have upon the (a hunting phrase), Merchant of Venice, 
i. 3 ; iv. 1. 

Hippocrates, Merry Wives of Windsor, Hi. 1. A Greek physi- 
cian, born about 460 b. c, called the father of medicine. 

Hippolyta, Queen of the Amazons, character in the Midsummer- 
NighVs Dream, introduced in the first scene. Her marriage to The- 
seus is the occasion of the festivities. In classic story Hippolyta was 
slain by Hercules, who came to obtain her girdle. She would have 
given it, but, under a false impression of treachery on her part, he 
slew her and took it. Antiope is the name of the Queen of the Ama- 
zons whom Theseus carried off. 

Hippopotamus, supposed to be the " sea monster," mentioned 
in King Lear, i. Jf.. 

Hisperia, an attendant of the princess, mentioned in As You 
Like It, ii. 2. 

Historical Plays, the. 

"It certainly seems that Shakspere's historic dramas produced 
a very deep effect on the minds of the English people, and in 
earlier times they were familiar even to the least informed of all 
ranks, according to the relation of Bishop Corbett. Marlborough, 
we know, was not ashamed to confess that his principal acquaintance 
with English history was derived from them ; and 1 believe that a 
large part of the information as to our old names and achievements 
even now abroad is due, directly or indirectly, to Shakspere." — Cole- 
ridge. 

Hit, a palpable, Hamlet, v. 2. 

Hobbididence, a fiend, King Lear, iv. 1. See Mahu. 

Hobby-horse, Hamlet, Hi. 2. The figure of a horse fastened to 
a man, used in the morris-dance. 

Hobby-horse is forgot, Love's Labours Lost, Hi. 1. A line 
of an old song. 

Hob nob, is his word, Twelfth Night, Hi. 4- Have or not have. 

Hogs, shall I keep your, As You Like It, i. 1. Allusion to the 
parable of the prodigal son. This making of Christians will raise 
the price of, Merchant of Venice, Hi. 5. 

Hold you there (keep yourself in that mind), Measure for 
Measure, Hi. 1. 



160 INDEX TO SHAKSPERE'S WORKS. 

Holiday(s), if all the year were, I. Henry I V., i. 2 ; a beautiful, 
King John, Hi. 1. 

Holland, John, a follower of Jack Cade, II. Henry VI, iv. 2. 

Holmedon, or Horn il don Hill, September 14, 1402, battle at, I. 
Henry IV., i. 1, 3, between the Scots under Douglas and the king's 
troops under Hotspur. 

Holofernes, a character in Love's Labour's Lost, introduced in 
iv. 2, an empty, wordy pedant, characterized by the page and the 
clown as having " been at a great feast of languages and stolen the 
scraps," and " lived long on the alms-basket of words." He has been 
supposed to be a caricature of an Italian teacher in London named 
Florio, who translated Montaigne and published in 1598 a dictionary 
called " A "World of Words," and who had criticised the English 
dramas as being " neither right comedies nor right tragedies, but 
perverted histories without decorum." 

Holy Land, the, I. Henry IV., i. 1. 

Holy-rood day, I. Henry IV., i. 1. September 14th, feast of 
the Exaltation of the Cross. 

Holy thistle, Much Ado about Nothing, Hi. 4> It was used as 
a specific for heart diseases. 

Holy water, court (flattery), King Lear, Hi. 2. 

Homage, a duke's, to a king, The Tempest, i. 1. 

Home-keeping youth, Two Gentlemen of Verona, i. 1 ; Gym- 
beline, Hi. 3. 

Homildon Hill. See Holmedon. 

Honesty, wrangle with one's own, Merry Wives of Windsor, ii. 
1 ; description of Duncan's, AIVs Well that Ends Well, iv. 3 ; is a 
fool, A Winter's Tale, iv. 3 or 4 ; pretence of, Richard III., i. 3, 
" Because I cannot flatter," etc. ; armed strong in, Julius Caesar, iv. 
3 ; rarity of, Hamlet, ii. 2 ; Hi. 1; A Winter's Tale, ii. 1; Timon 
of Athens, iv. 3; honesty his fault, Timon of Athens, Hi. 1; no 
puritan, All's Well that Ends Well, i. 3 ; unsafe, Othello, Hi. 3 ; a 
man of, Othello, v. 2. 

Honeymoon, a, Taming of the Shrew, iv. 1. 

Honey-stalks, Titus Andronicus, iv. 4. Supposed to be clover. 

Honi soit, etc., Merry Wives of Windsor, v. 5. "Shame to 
him that thinks evil of it," the motto of the Order of the Garter. 

Honorificabilitudinitatibus, not so long as, Love's Labour's 
Lost, v. 1. 

Honour(s), take the, Merry Wives of Windsor, ii. 1 ; hidden in 
necessity, Merry Wives of Windsor, ii. 2 ; that it were purchased 



INDEX TO SHAKSPERE'S WORKS. 161 

by merit, Merchant of Venice, ii. 9 ; the knight that swore by his, 
As You Like It, i. 2 ; perfect, All's Well that Ends Well, i. 2 ; real, 
AIVs Well that Ends Well, ii. 3 ; wins but a sear, or, AWs Well that 
Ends Well, Hi. 2; a woman's, The Tempest, i. 2 ; All's Well that 
Ends Well, Hi. 5 ; iv. 2 ; life loved more than, Measure for Meas- 
ure, Hi. 1; I stand for, A Winter's Tale, Hi. 2 ; signs of new-made, 
King John, i. 1 ; value of, Richard II., i. 1 ; shows in the meanest 
habit, Taming of the Shrew, iv. 3 ; sets him off more than a mortal 
seeming, Cymbeline, i. 7 ; in war and in peace, Coriolanus, Hi. 2 ; 
who hates, hates the gods, Pericles, ii. 3 ; to pluck or bring up — 
shared with others, I, Henry IV., i. 3 ; Falstaff 's opinion of, I. Henry 
IV., v. 1, end ; lost, II. Henry IV., ii. 3 ; covetous of, Henry V., iv. 
3 ; new, Richard III, i. 3 ; Macbeth, i. 3 ; depths and shoals of, 
Henry VIII., Hi. 2 ; for accidental advantages — travels in a narrow 
strait, Troilus and Cressida, Hi. 3; dearer than life, Troilus and 
Cressida, v. 3 ; desire of, Coriolanus, i. 3 ; at difference with mercy, 
Coriolanus, v. 3 ; a brow," a throne for, Romeo and Juliet, Hi. 2 ; 
love of, Julius Cozsar, i. 2 ; justice of a quarrel for, Hamlet, iv. 4 or 
1; an essence not seen, Othello, iv. 1; all in, Othello, v. 2 ; in love, 
Antony and Cleopatra, i. 3 ; before profit, Antony and Cleopatra, 
ii. 7 ; if born to, show it, Pericles, iv. 6 ; appeal to, Lucrece. I. 568 ; 
and death, Lucrece, lines 1032, 1051; fleeting, Sonnet xxv. See 
Truth, Reputation. 

Honour, riches, marriage blessing, song, The Tempest, 
iv. 1. 

Hood, Robin, Two Gentlemen of Verona, iv. 1 ; As You Like It, 
i. 1. An English outlaw, supposed to have lived at the close of the 
twelfth and beginning of the thirteenth century. 

Hoodman blind (blind-man's-buff), All's Well that Ends Well, 
iv. 3 : Hamlet, Hi. 4- 

Hopdance, a fiend, King Lear, Hi. 6. See Mahu. 

Hope, put off, The Tempest, Hi. 3 ; a lover's staff, Two Gentle- 
men of Verona, Hi. 1 ; a curtal (tailless) dog, Merry Wives of Wind- 
sor, ii. 1 ; medicine for the miserable, Measure for Measure, Hi. 1 ; 
fulfilment oft comes when it is coldest, All's Well that Ends Well, 
ii. 1; lined himself with, II. Henry IV., i. 3; is swift, Richard III., 
v. 2 ; never wholly fulfilled, Troilus and Cressida, i. 3 ; against evi- 
dence, Troilus and Cressida, v. 2 ; was the, drunk, Macbeth, i. 7 ; 
at the darkest time, Macbeth, iv. 2, 3 ; cozening, Richard II, ii. 2 ; 
far off, III. Henry VI., Hi. 2 ; one worth fighting for, III. Henry 
VI., v. ^ 



162 INDEX TO SHAKSPERE'S WORKS. 

Hopkins, Nicholas. See Henton. 

Horace, quoted, Titus Andronicus, iv. 2. 

Horatio, character in Hamlet, first appears in i. 1. He is Ham- 
let's most intimate friend, and the only one to whom he confides the 
revelations made by his father's ghost. A fine and noble character, 
the ideal of a friend, warm-hearted, true, and judicious. 

Horn, is dry, the, King Lear, Hi. 6. The horn cup of the beggar, 
to be filled by charity with beer. 

Horns, of the cuckold, allusions to, Much Ado about Nothing, i. 
1 ; As You Like It, Hi. 3 ; iv. 1, 2 ; Troilus and Cressida, i. 1 ; and 
in various other passages. 

Horner, Thomas, an armourer in II. Henry VI., introduced in 
i. 3, accused by his man of treason, and sentenced to single combat 
with him. They fight in ii. 3. The armourer's real name was 
William Catur. 

Horror, a tale of, Hamlet, i. 5. 

Horrors, supped full of, Macbeth,, v. 5. 

Horse(s), the dancing, Love's Labour's Lost, i. 2. A learned 
horse belonging to one Bankes was exhibited in London in 1589. In 
France he was near being taken as a sorcerer at the instance of the 
Capuchins; description of a diseased, Taming of the Shrew, Hi. 2; 
of that colour, Twelfth Night, ii. 3 ; praise of a, Henry V., Hi. 7 ; 
my kingdom for a, Richard III., v. 4 ; ate each other, Macbeth, ii. 
4 ; buttered hay for, King Lear, ii. 4 » beauty of a, Venus and 
Adonis, I. 295 ; roan Barbary, Richard II., v. 5. 

Horsemanship, good, Hamlet, iv. 7 (or 4)', 1. Henry IV. y iv. 
1 ; Lover's Complaint, I. 106. 

Hortensio, one of the unsuccessful suitors for Bianca in the 
Taming of the Shrew, introduced in i. 1. He gains admission to 
her as a teacher of music under the assumed name of Licio. 

Hortensius, servant of one of the creditors of Timon of Athens, 
introduced in Hi. 4. 

Hospitality, want of, As You Like It, ii. 4 ; extended, A Win- 
ter's Tale, i. 1, 2 ; v. 1; Timon of Athens, Hi. 4; abuse of, King 
Lear, Hi. 7 ; Lucrece, lines 575, 842. 

Host, trust of a, Macbeth, i. 7. 

Host of the Garter Inn, a witty character in The Merry 
Wives of Windsor, introduced in i. 3. 

Hostess, a character in the inductio?i to the Taming of the 
Shrew. 

Hotspur, Henry Percy, so surnamed from his quick and fiery 



INDEX TO SHAKSPERE'S WORKS. 163 

temper, son of the Earl of Northumberland, character in Richard 
II., introduced in ii. 3, and in I. Henry IV., introduced in i. 3. He 
engages in the rebellion and is killed at Shrewsbury by Prince 
Henry, v. 4. He is brave, rash, high-spirited, devoted to honour, 
contemptuous toward all sentimentality and insincerity, impatient of 
vanity and pretentiousness, and as impolitic as his father is crafty 
and smooth. At the last moment he is deserted by his father and 
deceived by his uncle Worcester, and falls in a fruitless attempt. 
In 7. Henry IV, Hi. 2, he is described by the king, and there repre- 
sented as of about the same age as the prince, though really twenty 
years older. 

Hounds, description of, Midsummer-Night 's Dream, iv. 1 ; fell 
and cruel, Twelfth Night, i. 1, allusion to the story of Actaeon (q. v.) ; 
Venus and Adonis, I. 913. See Hunting. 

Hour-glass, allusions to the, The Tempest, i. 2 ; Merchant of 
Venice, i. 1 ; Henry V., %., chorus ; Cymbeline, Hi. 2. 

Hours, of youth and age, Sonnet v. ; lovers', Othello, Hi. 4> 

House, taken when the prop is taken, Merchant of Venice, iv. 1 ; 
a desolate, Richard II., ii. 2 ; an unfinished, II. Henry IV., i. 3 ; a 
rich, II Henry IV., v. 3 ; in the rocks, Cymbeline, Hi. 3. 

Howard, John. See Norfolk. 

Howard, Thomas. See Surrey. 

How can I then return in happy plight, Sonnet xxviii. 

How can my muse want subject to invent, Sonnet xxxviii. 

How careful was I, Sonnet xlviii. 

How heavy do I journey, Sonnet I. 

How like a winter hath my absence been, Sonnet xcvii. 

How oft, when thou, my music, Sonnet cxxviii. 

How sweet and lovely, Sonnet xcv. 

How should I your true love, song, Hamlet, iv. 5 or 2. 

Hoxes (cuts the hamstrings of), A Winter's Tale, i. 2. 

Hubert de Burgh, a character in King John, introduced in Hi. 
3. He was the king's chamberlain, and in point of descent and of 
power was regarded as the greatest subject in Europe during this 
and the succeeding reigns The scene between him and Prince Ar- 
thur is exquisitely pathetic, iv. 1. 

Hugger-mugger in (stealthily), Hamlet, iv. 5 (or 2). 

Humanity, must prey upon itself. King Lear, iv. 2. 

Human nature, Love's Labour's Lost. iv. 3, "God amend us," 
etc. ; depravity of, Henry VIII., v. 2, " We all are man's," etc. ; Ti- 
mon of Athens, i. 2 ; iv. 3, "All is oblique," etc. 
15 



164 INDEX TO SHAKSPERE'S WORKS. 

Hume, John, a priest in II. Henry VI, introduced in i. 2. He 
is playing a double part for money. 

Humility, Measure for Measure, ii. 4, " Let me be ignorant," 
etc. ; the witness of excellency, Much Ado about Nothing, ii. 3 ; of 
a great man, All's Well that Ends Well, i. 2 ; the base string of, I. 
Henry IV., ii.4> becoming in time of peace, Henry V., iii.l; 
Henry V., v. 1, " Being free from vainness," etc. ; God thanked for, 
Richard III, ii. 1 ; the ladder of ambition, Julius Caisar, ii. 1; 
despised, Othello, i. 1, " You shall mark many," etc. ; base, Richard 
II. v. 1; refusal to assume, Coriolanus, ii. 1 ; the beetle often safer 
than the eagle, Cymbeline, Hi. 3. 

Humour of Forty Fancies, Taming of the Shrew, Hi. 2. 
Thought to be a collection of ballads. 

Humour(s), all, from Adam to this pupil age, I. Henry I V., ii. 
4 ; every, has his adjunct pleasure, Sonnet xci. ; claw no man in his, 
Much Ado about Nothing, i. 3. The favourite catchword of Nym. 

Humourous (capricious or ill-natured), As You Like It, i. 2; ii. 3. 

Humphrey, Duke, of Gloucester, called the good Duke Hum- 
phrey, character in 11. Henry IV., where he is Prince Humphrey 
and takes little part in the play, and in the first and second parts of 
Henry VI, introduced in the opening scene of each. He was uncle 
of the infant king, and protector. His quarrel with the Cardinal of 
Winchester, I. Henry VI, i. 1, 3. His ambition for England's 
glory in foreign war, which made him a favorite with the people, is 
expressed in II. Henry VI, i. 1. His death resolved upon, Hi. 1 ; 
accomplished, Hi. 2 ; his ghost, Hi. 2, 3. 

" Duke Humphrey, of Gloucester, who appears in the second part 
totally different from the Gloucester of the first, is invested with 
the great qualities of consummate mildness and benevolence, with a 
Solomon-like wisdom, with freedom from all ambition, and with 
severe, Brutus-like justice toward every one, even his wife, in whose 
last dishonour he notwithstanding shares as a private character. . . . 
There is too much noble and quiet grandeur in Humphrey for us 
not to be grieved at his fall, which appears merely an exemplifica- 
tion of the fable of the lamb that had troubled the wolf's water. . . . 
At the moment of his fall he too late becomes keen-sighted, and pre- 
dicts his own ruin and that of his king." — Gervinus. 

Humphrey Hour (or Hower), Richard III, iv. 4. A puzzle 
to the commentators. No satisfactory explanation has been given. 

"Hundred Merry Tales," Much Ado about Nothing, ii. 1. 
Name of a jest-book. 

Hungarian wight (gipsy), Merry Wives of Windsor, i. 3. 



INDEX TO SHAKSPERE'S WORKS. 165 

Hungary, King of. See Corvinus. 

Hunger, Coriolanus, i. 1 ; makes food savoury, Cymbeline, Hi. 6. 

Hungerford, Lord, 1. Henry VI., i. 1. 

Hunt, a, Titus Andronicus, ii. 2 ; Venus and Adonis, 1. 870, et seq. 

Hunting, terms of, and allusions to : uncape (let loose), Merry 
Wives of Windsor, Hi. 3 ; trail — open, Merry Wives of Windsor, iv. 
2 ; counter — dry foot, Comedy of Errors, iv. 2 ; recheat, Much Ado 
about Nothing, i. 1; hunting-scenes, Love's Labour's Lost, iv. 1; 
Midsummer-Night's Dream, iv. 1 ; on the hip, Merchant of Venice, 
i. 3; cruelty of, As You Like If, ii. 1; dogs for, Taming of the 
Shrew, induction, 1,2 ; embossed (foaming at the mouth), All's Well 
that Ends Well, Hi. 6; and elsewhere; metaphors from, Twelfth 
Night, i. 1 ; " all with purpled hands," King John, ii. 1 or 2, allu- 
sion to the custom for all in the chase to dye their hands in the 
blood of the game ; before the game's afoot, thou still let'st slip, 
I. Henry IV., i. 3 ; hunt-counter (hunter going backward on the 
trace), II. Henry IV., i. 2; coward dogs, Henry V., ii. 4; a little 
herd, etc., I. Henry VI., iv. 2 ; razed, Richard III, Hi. 2 ; rascal, 
worst in blood, Coriolanus, i. 1 ; full of vent (eager, as at first scent), 
Coriolanus, iv. 5 ; hunt's-up (a reveille on the morning of a hunt), 
Romeo and Juliet, Hi. 5 ; recover the wind of one (get the animal to 
run with the wind, that it may not know it is pursued), Hamlet, Hi. 
2; this is counter, Hamlet, iv. 5 (or 2); "This quarry cries on 
havoc," Hamlet, v. 2, an unnecessary amount of game killed by raw 
huntsmen ; putting on (inciting) — trash (hold back by a trash or hal- 
ter), Othello, ii. 1 ; fills up the cry, Othello, ii. 3 ; to be unbent, 
Cymbeline, Hi. 4 ; dangers of, Venus and Adonis, lines 673, 883. 

Huntingdon, John Holland, Earl of, addressed in Henry V., 
v. 2, one of the king's council. 

Husband(s), reproaches to a, Comedy of Errors, ii. 2; v. 1; 
compared to an elm, Comedy of Errors, ii. 2 ; duty of a, Comedy of 
Errors, Hi. 2 ; Christian, Merchant of Venice, iv. 1; duty to a, Tam- 
ing of the Shrew, v. 2 ; Othello, i. 3 ; should be older than their 
wives — like fools, Twelfth Night, Hi. 1; that cannot stay the 
tongues of their wives, A Winter's Tale, ii. 3, " Hang all the," 
etc. ; treachery to a — contrast between a first and second, Hamlet, Hi. 
4 ; injustice of, Othello, iv. 3, end. 

Husbandry (economy), in heaven, Macbeth, ii. 1; borrowing 
dulls the edge of, Hamlet, i. 3. 

Hybla, bees of, I. Henry IV., i. 2; Julius Ccesar, v. 1. Hybla, 
in Sicily, noted for its honey. 



166 INDEX TO SHAKSPERE'S WORKS. 

Hydra (hundred-headed monster), Coriolanus, Hi. 1; Othello, ii. 
3 ; and elsewhere. 

Hyems (winter), Midsummer-Night's Dream, ii. 2. 

Hymen, The Tempest, iv. 1 ; Much Ado about Nothing, v. 3 ; 
personated in As You Like It, last scene. Some critics think this an 
interpolation by some other hand than Shakspere's. 

Hyperbole(s), Love's Labour's Lost, v. 2 ; three-piled, Troilus 
and Cressida, i. 3. 

Hyperion (Apollo), Henry V, iv. 1; Timon of Athens, iv. 3 ; 
Titus Andronicus, v. 2 ; Troilus and Cressida, ii. 3 ; to a satyr, 
Hamlet, i. 2 ; curls of, Hamlet, Hi. 4> 

Hypocrisy, of Proteus and Valentine, Two Gentlemen of Verona, 
Hi. 1, 2 ; of Falstaff, Merry Wives of Windsor, ii. 1 ; of Angelo, 
Measure for Measure, i. 4, 5 ; Hi. 1, 2 ; v. 1; recommended to a 
husband, Comedy of Errors, Hi. 2 ; no vice but practises, Merchant 
of Venice, Hi. 2 ; long experience in, King John, iv. 3 ; the evil 
done by, Henry V., ii. 2 ; II. Henry VI., Hi. 1 ; of Richard (Glouces- 
ter), III. Henry VL, Hi. 2; Richard III., i. 1-6 ; ii. 1, 2 ; Hi. 5, 7 ; 
Anne accused of, Henry VI1L, ii. 3 ; Wolsey accused of, Henry 
VIII., Hi. 1; denounced, Romeo and Juliet, Hi. 2, "0 serpent 
heart," etc. : recommended, Macbeth, i. 3, to beguile the time, etc. ; 
the devil sugared over, Hamlet, Hi. 1 ; time shall uncover, King 
Lear, i. 1 ; of simpering dames, King Lear, iv. 6 ; mere, Othello, ii. 
1; of devils, Othello, ii. 3, "And what's he,'' etc.; of Iago, Othello, 
Hi. 3 ; of a woman, Othello, iv. 1 ; Lucrece, lines 8'46, 1514 ; cunning 
of, Much Ado about Nothing, iv. 1. 

Hyrcan deserts, Merchant of Venice, ii. 7. Ilyrcania, a wil- 
derness south of the Caspian Sea. 

Hyrcan tiger, Macbeth, Hi. 4; Hyrcanian beast, Hamlet, ii. 2. 

Hysterica passio (hysteric passion), King Lear, ii. 4. 

Iachimo, an Italian, friend of Philario in Cymbeline, introduced 
in i. 4; his wager, i. 4; his stratagem, ii. 2 ; his confession, v. 5. 

Iago, ancient or ensign of Othello, one of the principal characters 
in the play, and one of the most remarkable of all in the dramas, in- 
troduced in i. 1. He hates Cassio for having been promoted to an 
office above him, and Othello for having promoted him, and he de- 
vises and carries out the plot that culminates in the murder of Des- 
demona. See under Othello. 

"Some persons, more nice than wise, have thought this whole 
character unnatural because his villainy is without a sufficient mo- 



INDEX TO SHAKSPERE'S WORKS. 167 

five. . . . Iago, in fact, belongs to a class of characters common to 
Shakspere, and at the same time peculiar to him ; whose heads are 
as acute and active as their hearts are hard and callous. Iago is, to 
be sure, an extreme instance of the kind — that is to say, of diseased 
intellectual activity, with an almost perfect indifference to moral 
good or evil, or rather with a decided preference for the latter, be- 
cause it falls more readily in with his favourite propensity, gives 
greater zest to his thoughts and scope to his actions." — Hazlitt. 

Icarus, /. Henry VI, iv. 6, 7; II. Henry VI, v. 6. Daedalus 
made wings for himself and his son Icarus, on which they rose from 
Crete; but the boy flew too near the sun, the wax that held the 
feathers together melted, and he fell into the sea. 

Ice, thrilling region of thick-ribbed, Measure for Measure, iii. 1. 

Iceland dog, Henry V, ii. 1. 

Icicle(s), on a Dutchman's beard, Twelfth Night, iii. 2 ; roping, 
Henry V., iii. 5 ; chaste as the, Coriolanus, v. 3. 

Iden, Alexander, character in II. Henry VI, introduced in iv. 
10. He was Sheriff of Kent, and captured Jack Cade, who, strug- 
gling against capture, was mortally wounded. 

Identity, mistaken, plot of Comedy of Errors founded on ; and 
Viola is mistaken for Sebastian in Twelfth Night, iii. 4,' iv. 1. 

Ides of March, Julius Ccesar, iii. 1. The fifteenth. 

Idiot(s), a blinking, Merchant of Venice, ii. 9; play the, in 
fortune's eyes, Troilus and Cressida, iii. 3 ; holds his bauble for a 
god, Titus Andronicus, v. 1; life a tale told by an, Macbeth, v. 5 ; 
would be wisely definite, Cymbeline, i. 6. 

Idleness, to mar with, As You Like It, i. 1; makes man a 
beast, Hamlet, iv. 4 ; evils of, Antony and Cleopatra, i. 2. 

Idolatry, in making the service greater than the god, Troilus 
and Cressida, ii. 2 ; pure, Love's Labour's Lost, iv. 3. 

Ield, or ild (yield, shield), As You Like It, iii. 3 ; Hamlet, iv. 5. 

If(s), traitorous to talk of, Richard III, iii. 4 ,' virtues of an, As 
You Like It, v. 4-. 

If a hart do lack a hind, travesty on Orlando's love-verses, As 
You Like It, iii. 2. 

If love make me forsworn, poem, Love's Labour's Lost, iv. 
2 ; Passionate Pilgrim, v. 

If music and sweet poetry agree, Passionate Pilgrim, viii. 

If my dear love were but the child of state, Sonnet cxxiv. 

If the dull substance of my flesh, Sonnet xliv. 

If there be nothing new, Sonnet lix. 

If thou survive my well-contented day, Sonnet xxxii. 



168 INDEX TO SHAKSPERE 'S WORKS. 

If thy soul check thee, Sonnet cxxxvi. 

Ignominy, to ransom life, Measure for Measure, ii. 4,' with 
thee in the grave, I. Henry IV., v. 4- 

Ignorance, no darkness but, Twelfth Night, iv. 2 ; bliss of, A 
Winter's Tale, ii. 1, " How blest am I," etc. ; the curse of God, II. 
Henry VI, iv. 7 ; a valiant, Troilus and Cressida, Hi. 3 ; finds not 
till it feels, Coriolanus, Hi. 3; of one's losses, Othello, Hi. 3 ; makes 
us pray for what would harm us, Antony and Cleopatra, ii. 1 ; of 
books, a monster, Love's Labour's Lost, iv. 2 ; dull, unfeeling, bar- 
ren, Richard II, i. 3 ; short-armed, Troilus and Cressida, ii. 3. 

Ignorant, the, their eyes more learned than their ears, Corio- 
lanus, Hi. 2. 

I grant thou wert not married to my Muse, Sonnet Ixxxii. 

Ilium, a name of Troy, but in Troilus and Cressida, i. 1, used 
as the name of the palace. 

Illness, allowances for, King Lear, ii. 4, " Infirmity doth still 
neglect all office whereto our health is bound," etc. 

Ills, heightened by the thought of good, Richard II, i. 3 ; 
known preferred to unknown, Hamlet, Hi. 1. 

Illyria, on the eastern coast of the Adriatic Sea, scene of Twelfth 
Night. 

Imagination, effect of death on, Much Ado about Nothing, iv. 
1; of lunatics, lovers, and poets, Midsummer-Night's Dream, v. 1 ; 
of greatness, Twelfth Night, ii. 5 ; impotence of, Richard II. i. 3, 
" who can tell," etc. ; help of, at the theatre, Henry V., %., chorus ; 
of riches, Lover's Complaint, I. 136 ; desperate with, Hamlet, i. 4. 

Imbare (make bare, expose), Henry V., i. 2. 

Imitation, even of faults, II Henry 1 V., ii. 3. 

Imitator, an, Julius Caisar, iv. 1, " A barren-spirited fellow." 

Immanity (inhumanity), /. Henry VI, v. 1. 

Immortality of the soul. See Soul. 

Imogen, daughter of Cymbeline, introduced in the first scene of 
the play. The wager concerning her, *. 4; her interview with 
Iachimo, i. ; his stratagem, ii. 2 ; the command for her death, Hi. 
2 ; her journey, Hi. 4 ', her beauty, in. 6 ; her apparent death, iv. 2. 

" The very crown and flower of all her father's daughters. I do 
not speak here of her human father, but her divine — the woman 
above all Shakspere's women is Imogen. As in Cleopatra we found 
the incarnate sex, the woman everlasting, so in Imogen we find half 
glorified already the immortal godhead of womanhood. I would 
fain have some honey in my words at parting — with Shakspere 
never, but forever with these notes on Shakspere ; and I am there- 



INDEX TO SHAKSPERE'S WORKS. 169 

fore something more than fain to close my book upon the name of 
the woman best beloved in all the world of song and all the tide of 
time, upon the name of Shakspere's Imogen." — Swinburne. 

44 Imogen, Desdemona, and Hermione are three women placed in 
situations nearly similar and equally endowed with all the qualities 
which can render that situation striking and interesting. They are 
all gentle, beautiful, and innocent ; all are models of conjugal sub- 
mission, truth, and tenderness; and all are victims of the unfounded 
jealousy of their husbands. So far the parallel is close, but here the 
resemblance ceases. . . . Critically speaking, the character of Her- 
mione is the most simple in point of dramatic effect, that of Imogen 
is the most varied and complex. Hermione is most distinguished by 
her magnanimity and her fortitude, Desdemona by her gentleness 
and refined grace, while Imogen combines all the best qualities of 
both with others which they do not possess ; consequently she is, as 
a character, superior to either ; but, considered as women, I suppose 
the preference would depend on individual taste." — Mrs. Jameson. 

Imp, Love's Labour's Lost, i. 2. A graff or shoot of a tree, and 
so used for child in a good sense. 

Imp, Richard II., ii. 1. To imp a hawk was to supply missing 
wing-feathers. 

Impartiality, the king's profession of, Richard II, i. 1. 

Impatience, to hear news, As You Like It, Hi. 2 ; Romeo and 
Juliet, ii. 5 ; does become a dog that's mad, Antony and Cleopatra, 
iv., end ; waiteth on true sorrow, III. Henry VI, Hi. 3. 

Impeachment (impediment), Henry V., Hi. 6. 

Imperceiverant (unperceiving), Cymbeline, iv. 1. 

Imperfection(s), piece out our, Henry V., i., chorus ; in every- 
thing, Luvrece, I. 869 ; in fair things, Sonnet xxxv. 

Implacability, Richard III, i. 4, " Not to relent," etc. See 
Hatred and Inflexibility. 

Impleached (intertwined), Lover's Complaint, I. 205. 

Imponed (impawned, staked), Hamlet, v. 2. 

Import (imply), Antony and Cleopatra, ii. 2. 

Importance (import), A Winter's Tale, v. 2. 

Importance (importunity), King John, ii. 1; Twelfth Night, 
v. 1. 

Important (importunate), Comedy of Errors, v. 1; Much Ado 
about Nothing, ii. 1 ; All's Well that Ends Well, Hi. 7 ; King Lear, 
iv. If.. 

Imposition, hereditary ours, the, A Winter's Tale, i. 2. Mean- 
ing original or transmitted sin. 

Impossibility, Coriolanus, v. 3 ; seeming, All's Well that Ends 
Well, ii. i, " Methinks in thee some blessed spirit speaks," etc. 



170 INDEX TO SHAKSPERE'S WORKS. 

Imprecations, Merry Wives of Windsor, i. 3, " Let vultures 
gripe," etc. ; Troilus and Cressida, ii. 3 ; Coriolanus, iv. 2, " The 
hoarded plagues," etc.; Timon of Athens, Hi. 5, end, 6; iv. 1,3; 
Lucrece, I. 967. See Curses. 

Imprisonment, King John, iv. 1; of Hermione, A Winter's 
Tale, ii. 1 ; long, I. Henry VI, ii. 5. 

Impudence, of vice, A Winter's Tale, Hi. 2 ; Titus Andronicus, 
v.l. 

Incantations, Macbeth, i. 3 ; iv. 1. 

Incapable (insensible), Hamlet, iv. 7 or 4> 

Inchide (restrain), Two Gentlemen of Verona, v. 4. 

Incivilities, between Jaques and Orlando, As You Like It, 
in. 2. 

Inconstancy, in love, Two Gentlemen of Verona, ii. 4; v. 4 ; 
Romeo and Juliet, ii. 3 ; Falstaff's, Merry Wives of Windsor, ii. 1 ; 
of men, Much Ado about Nothing, ii. 3, song ; of common men, 
777". Henry VI, Hi. 1, " Look, as I blow this feather," etc. ; novelty 
only is in request, Measure for Measure, iii. 2. 

Incony (unlearned, artless), Love's Labour's Lost, iii. 1 ; iv. 1. 

Indecision, II. Henry IV., ii. 3; Macbeth, i. 7 ; Hamlet, 
iii. 1 ; iv. 4, 7. See Opportunity. 

Indent, with fears, I. Henry IV., i. 3. Make bargains with 
those who would be objects of fears. 

Indenture, tripartite, I. Henry IV., iii. 1. Division of England 
into three parts by the conspirators. 

Independence, Julius Cmsar, i. 2 ; of fortune's caprices, Ham- 
let, iii. 2. 

Index (beginning), Richard III, ii. 2; iv. 4, and elsewhere. 

India, metal of (gold), Twelfth Night, ii. 5. 

Indictment, of Hermione, A Winter's Tale, iii. 2. 

Indies, the, Comedy of Errors, iii. 2 ; East and West, Merry 
Wives of Windsor, i. 3 ; the, Twelfth Night, iii. 2. See Map. 

Indifferent (impartial), Richard II, ii. 3. 

Indigest (chaos), King John, v. 7. 

Indirection (crookedness), Julius Caesar, iv. 3. 

Indirection, finding out by, Hamlet, ii. 1. 

Indiscretion, sometimes serves well, Hamlet, v. 2. 

Induction, Taming of the Shrew. The play is a play within a 
play, acted before the characters of the induction. See Lord, a. 

Induction(s) (preparations), Richard III, i. 1; (beginning), 
Richard III, iv. 4 ; I. Henry 1 V., iii. 1. 



INDEX TO SHAKSPERE'S WORKS. 171 

Industry, King Lear, ii. 4, " To school to an ant ; " must have 
an end to work to, Cymbeline, Hi. 6 ; his industry is to go up and 
down stairs, /. Henry IV., ii. 4- 

I never saw that you did. painting" need, Sonnet Ixxxiii. 

In faith I do not love thee with mine eyes, Sonnet cxli. 

Infant, the, As You Like It, ii. 7. 

Infatuation, of Antony, Antony and Cleopatra, i. 1 ; laughed 
at by the gods, Antony and Cleopatra, Hi. 2 ; of Hotspur, II. Henry 
IV., i. 3. 

Inflexibility, Merchant of Venice, Hi. 3 ; iv. 1; A Winter's 
Tale, i. 2 ; Coriolanus, i. 10. 

Influence, of associates, Merchant of Venice, Hi. 4>' I* Henry 
IV., ii. 4 ; II. Henry IV., v. 1 ; Troilus and Cressida, ii. 1 ; Julius 
Caisar, i. 2 ; King Lear, i. 4. 

Informal (incoherent), Measure for Measure, v. 1. 

Ingener (artist), Othello, ii. 1. " Does tire the ingener " is the 
reading of the folio, " Does bear all excellency " of the quarto. 

Ingratitude, Twelfth Night, Hi. 4; v. 1; song on,^ls You Like 
It, ii. 7 ; charged on the king, /. Henry I V., iv. 3 ; v. 1 ; toward 
God, Richard III, ii. 2; of the king, Henry VIIL, Hi. 2, " Had I 
but served," etc. : for good deeds past, Troilus and Cressida, Hi. 3, 
"Time hath a wallet," etc.; Coriolanus, ii. 3; in Rome, Titus An- 
dronicus, i. 1 or 2 ; Romeo and Juliet, Hi. 3 ; Timon of Athens, ii. 
2; Hi. 1-4, 6 ; v. 1; of the populace, Julius Caisar, i. 1 ; of Brutus, 
Julius Caisar, Hi. 2 ; of children, King Lear, i. 4 ; Hi. 2, 4 ,' of Se- 
leucus, Antony and Cleopatra, v. 2 ; Pericles, i. 4> 

In hoc spe vivo, Pericles, ii. 2. In this hope I live. 

Inherit (possess), Richard II., i. 1, a?id elsewhere. 

Inheritance, waiting for an, Midsummer-Night 's Dream, i. 1 ; 
quarrel concerning an, King John, i. 1; seizure of an, Richard II., 
ii. 1 ; haste to receive an, II. Henry IV., iv. 4. 

Iniquity, I lack, Othello, i. 2 ; the formal vice, Richard III., Hi. 1. 

Injointed (united), Othello, i. 3. 

Injury, knowledge of, A Winter's Tale, ii. 1, " How blest am 
I," etc. ; the jailor to pity, Coriolanus, v. 1 ; complaints of, Sonnets 
xxxiv. — xlii ; Twelfth Night, v. 1 ; the jailor to pity, Coriolanus, i. 1. 

Injustice, blacker by contrast, A Winter's Tale, Hi. 2, " How 
he glisters," etc. 

Ink, let gall enough be in, Twelfth Night, Hi. 2 ; Cymbeline, i. 
2 ; a pit of, Much Ado about Nothing, iv. 1. 

Inkhorn mate (scholar), 1. Henry VI., Hi. 1. 



172 INDEX TO SHAKSPERE'S WORKS. 

Inkle (used in embroidery, silk, or braid), A Winter's Tale, iv. 
4 ; Pericles, v., prologue. 

In loving thee thou knowst I am forsworn, Sonnet clii. 

Innocence, plain and holy, The Tempest, Hi. 1 ; of children, A 
Winter's Tale, i. 2; persuades, J. Winter's Tale, ii. 2; silence of, 
A Winter's Tale, Hi. 2, " If powers divine," etc. ; protestations of, 
Othello, iv. 2 ; unsuspecting, Lucrece, I. 99 ; trust in, II. Henry I V., 
iv. 4 ; appearance of, Much Ado about Nothing, iv. 1. 

Innocent IIL See Pope. 

Innocents, escape not, Antony and Cleopatra, ii. 5. 

Inns, the Porpentine (porcupine), Comedy of Errors, Hi. 1 ; v. 
1 ; the Tiger, Comedy of Errors, Hi. 1 ; the Garter, Merry Wives of 
Windsor ; the Boar's Head at Eastcheap, I. Henry IV. It was the 
custom to name chambers in inns, as the Bunch of Grapes, Pome- 
granate, Half-Moon, Jerusalem Chamber, etc. See I. Henry IV., 
ii. 4; mine ease in mine inn, I. Henry IV., Hi. 3. 

Insane, liberty of the, Hamlet, iv. 1 or Hi. 5. 

Insane root, the, Macbeth, i. 3. Henbane or hemlock. 

Insanity, affected by music, Richard II., v. 5 ; King Lear, iv. 7 ; 
restraints for, As You Like It, Hi. 2 ; Twelfth Night, v. 1 ; gradual 
coming on of, Hamlet, ii. 2 ; symptoms of, Hamlet, ii. 1; Hi. 1, 4; 
betrays secrets, Macbeth, v. 1 ; medicine for, Macbeth, v. 3 ; the mind 
suffering with the body, King Lear, ii. 4>' caused by the moon, 
Othello, v. 2. 

Insinuations, of evil, Othello, Hi. 3. 

Inspiration, of poetry. See Muse, the. 

Instances, modern (trivial or trite examples of ?), As You Like 
It, ii. 7 ; (motives) to second marriage, Hamlet, Hi. 2. 

Instinct, of beasts, in knowing their friends, Coriolanus, ii. 1; 
of royalty, Cymbeline, iv. 2, " thou goddess," etc. 

Instructions, a good divine that follows his own, Merchant of 
Venice, i. 2. 

Instrument(s), a poor, may do a noble deed, Antony and Cleopa- 
tra, v. 2 ; of darkness, Macbeth, i. 3 ; the mortal, Julius Caisar, ii. 1. 

Insubordination, results of, Troilus and Cressida, i. 3. 

Insults, to a coward, Hamlet, ii. 2, end of the soliloquy. 

Insurrection, cause of, I. Henry IV., v. 1; turned to religion, 
II. Henry IV, i. 1. 

Integer vitae, etc., Titus Andronicus, iv. 2. 
" He who is upright in life and pure from sin, 
Needs neither the spear nor bow of the Moor." — Horace. 



INDEX TO SHAKSPERE'S WORKS. 173 

Integrity. See Honesty, Honour. 

Intellect, degrees of, A Winter's Tale, i. 2, " For thy conceit." 

Intemperance, Twelfth Night, i. 5 ; fury in, Timon of Athens, 
Hi. 5; of the Danes, Hamlet, i. 4; folly of, Othello, ii. 3; v. 1; 
boundless, is a tyranny, Macbeth, iv. 3. 

Intend (pretend), Much Ado about Nothing, ii. 2 ; Lucrece, I. 
121 ; Richard III., Hi. 7. 

Intentions, bad, cannot be punished, Measure for Measure, v. 1, 
" Most bounteous sir," etc. ; between the, and the act, Julius Ccesar, 
ii. 1 ; good, baulked, King Lear, v. 3. 

Intercession, The Tempest, Hi. 1 ; Two Gentlemen of Verona, 
i. 1 ; Henry Till., ii. 1; Richard III., i. 3 ; Macbeth, Hi. 1. 

Interest, Merchant of Venice, i. 3. In the same sense as usury. 

Interjections, Much Ado about Nothing, iv. 1. 

Intermediate state, the, in Abraham's bosom, Richard II., iv. 
1; Richard III., iv. Jf.. 

In the old age black was not counted fair, Sonnet cxxvii. 

Invasion, King John, v. 1 ; King Lear, Hi. 1. 

Invention (imagination), Measure for Measure, ii. 4- 

Inventions, return to plague the inventor, Macbeth, i. 7. 

Inventory, of Wolsey's possessions, Henry VIII., Hi. 2 ; Cleo- 
patra's, Antony and Cleopatra, v. 2. 

Inverness, in Scotland, seat of Macbeth's castle and scene of a 
part of the drama. > 

Invised (unseen), Lover's Complaint, I. 212. 

Invitis nubibus (in spite of clouds), II. Henry VI., iv. 1. 

Invisibility, of Ariel, The Tempest, i. 2 ; produced by fern- 
seed, I. Henry IV., ii. 1. 

Invulnerability, The Tempest, Hi. 3 ; supposed, Macbeth, iv. 
1; v. 7,8. 

Inward (intimate, confidential), Measure for Measure, Hi. 2 ; 
Love's Labour's Lost, v. 1. 

Inward quality, the, drawn after the outward, Antony and 
Cleopatra, Hi. 11 or 13. 

Io, Taming of the Shrew, induction, 2. The daughter of the river- 
god Inachus, changed by Jupiter into a heifer, and persecuted by Juno. 

Ipswich, college at, Henry VIII., iv. 2. 

Ira furor brevis est, Timon of Athens, i. 2. Anger is a short 
madness. 

Iras, an attendant of Cleopatra in Antony and Cleopatra, intro- 
duced in i. 2. 



174 INDEX TO SHAKSPERE'S WORKS. 

Ireland, bogs of. Comedy of Errors, iii. 2 ; rebellion in, Rich- 
ard II, i. 4; I. Henry IV., iv. 4; v. 1; II. Henry VI, i. 1; Hi. 
1 ; no snakes in, Richard II, ii. 1. 

Iris, goddess of the rainbow and messenger of Juno, The Tem- 
pest, iv. 1; AWs Well that Ends Well, i. 3 ; II. Henry VI, iii. 2. 

Irish, the, Richard II, ii. 1, " Rough, rug-headed kerns." 

Irish rat, an, As You Like It, iii. 2. 

Irish wolves, howling of, As You Like It, v. 2. 

Irony, of the Host, Merry Wives of Windsor, ii. 3 ; iii. 1 ; Meas- 
ure for Measure, v. 1, in the duke's praise of Angelo ; suspected, 
Midsummer-Night' 's Dream, Hi. 2 ; in flattery, Taming of the Shrew, 
ii. 1. 

Irregulous (lawless), Cymbeline, iv. 2. 

Irresolution. See Doubt, Delay, Indecision. 

Isabel, Queen of France, character in Henry V., first appears in 
v. 2 ; she is the mother of the Princess Katherine, who becomes the 
queen of Henry V. 

Isabella, character in Measure for Measure, introduced in i. 5, 
one of the noblest of Shakspere's heroines. 

Her character is marked by a lofty severity, which has caused 
some critics to call her unwomanly ; but her purity is unaccompanied 
by any Pharisaic harshness toward the follies of others ; and, indeed, 
she seems to have no pride of character whatever, but simply unaf- 
fected devotion to goodness as goodness ; and this perfect sincerity 
is united with a clear and strong intellect and a persistent though 
modest force of will. 

Isabella, queen of Richard II., is introduced in the play, ii. 1; 
her sorrow when he is taken to the Tower, and indignation at his 
want of spirit, v. 1. 

I shall no more to sea, song, The Tempest, ii. 2. 

Isis (chief goddess of the Egyptians, wife of Osiris), invoked, 
Antony and Cleopatra, i. 2 ; habiliments of, Antony and Cleopatra, 
iii. 6. 

Is it for fear to wet a widow's eye, Sonnet ix. 

Is it thy will, Sonnet Ixi. 

Island, scenes in an, The Tempest; Delphos spoken of as an, 
A Winter's Tale. Hi. 1, " The fertile isle." 

Issues, spirits are not finely touched but to fine, Measure for 
Measure, i. 1. 

Italy, scene of part of Cymbeline ; fashions of, see Fashions. 

Iteration, damnable, /. Henry IV., i. 2 ; truth tired with, 
Troilus and Cressida, iii. 2. 



INDEX TO SHAKSPERE'S WORKS. 175 

It was a friar of orders grey, Taming of the Shrew, iv. 1. A 
line of an old ballad, other lines of which are scattered through the 
play. From these Percy constructed the ballad, with additions. 

It was a lording's daughter, Passionate Pilgrim, xvi. 

Ivy, allusion to the custom of using a bush of, as a vintner's 
sign, As You Like It, epilogue. 

Jack, played the, The Tempest, iv. 1; term of reproach, 3Ierty 
Wives of Windsor, ii. 3 ; Hi. 1, 2 ; and Jill, Love's Labour's Lost, v. 
2 ; Midsummer-Night's Dream, Hi. 2. 

Jack-a-Lent, Merry Wives of Windsor, Hi. 3 ; v. 5. A puppet 
to be thrown at as an amusement in Lent. 

Jack-an-apes (Jack o' lantern), Merry Wives of Windsor, iv. 4. 

Jackdaws. See Choughs. 

Jack o' the clock, Richard II, v. 5 ; Richard III, iv. 2. The 
automaton that struck the hours. 

Jacks, Taming of the Shrew, iv. 1. Leather drinking-vessels. 

Jacob, Merchant of Venice, i. 3. 

Jacques, Saint, pilgrim of, All's Well that Ends Well, Hi. 4. 
Pilgrimages were made to the shrine of St. James at Compostella, 
Spain. 

Jade, let the galled, wince, Hamlet, Hi. 2. 

Jaded (degraded by menial labor), II Henry VI, iv. 1 ; (beaten), 
Henry VIII, Hi. 2. 

Jailer, the, character in the Comedy of Errors, i. 1. 

James I., of England, flattery of, see King's Evil; prophecy 
concerning, Henry VIII, v. 4; Macbeth, iv. 1, "That twofold 
balls," etc. The passages in Measure for Measure beginning, " I 
love the people " (*. 1), " How I have ever loved the life removed " 
(i. 4), and " The general subject to a well-wished king " (ii. 4), are 
supposed to refer to his dislike to being the centre of a pageant. 

Jamy, a Scottish captain in Henry V., first appears in Hi. 2. 

Janus, two-headed, Merchant of Venice, i. 1. 

Jape (coarse joke), A Winter's Tale, iv. 3 or 4- 

Japhet, II Henry IV., ii. 2. 

Jaquenetta, a country wench in Love's Labour's Lost, beloved 
by Costard and Don Adriano, first appears in the first scene. 

Jaques, the melancholy, one of the lords attending the banished 
duke in As You Like It 

" Jaques is not a bad-hearted egoist, like Don John, but he is a 
perfectly idle seeker for new sensations, and an observer of his owp 
16 



176 INDEX TO SHAKSPERE'S WORKS. 

feelings ; he is weary of all that he has found, and especially pro- 
fesses to despise the artificial society, which yet he never really es- 
capes from, as the others do. His wisdom is half foolery, as Touch- 
stone's foolery is half wisdom." — Dowden. 

Jaques de Bois, a brother of Oliver and Orlando in As You 
Like It. 

Jasons, many, Merchant of Venice, i. 1; Hi. 2. Jason went 
after the Golden Fleece. 

Jay(s), Tempest, ii. 2 ; Taming of the Shrew, iv. 3. 

Jealousy, of Adriana, Comedy of Errors, ii. 1, 2 ; Hi. 1, end ; 
iv. 2 ; v. 1 ; of Ford, Merry Wives of Windsor, ii. 1, 2 ; Hi. 2, 5 ; 
iv. 1, 4 ; love full of, Two Gentlemen of Verona, ii. 4 ; iv. 4 ; a ruse, 
to excite, Twelfth Night, Hi. 2; savage, Twelfth Night, v. 1; of 
Leontes, A Winter's Tale, i. 2 ; ii. 1, 3 ; in. 2 ; Elinor's, of Con- 
stance, King John, i. 1 ; godly, Troilus and Cressida, iv. 4 ; aroused, 
Coriolanus, iv. 7 ; of Cassius, Julius Cossar, i. 2 ; guilt full of, Ham- 
let, iv. 5 ; Goneril's, King Lear, iv. 2, " But being widow," etc. ; Re- 
gan's, King Lear, v. 1, 3 ; green-eyed monster — trifles to, Othello, 
Hi.3; self-made, Othello, Hi. 4; one wrought up to, Othello, v. 2; 
of Cleopatra, Antony and Cleopatra, i. 1, 3 ; ii. 5 ; Hi. 3 ; toward 
superior officers, Antony and Cleopatra, Hi. 1 ; of Posthumus, Cym- 
beline, i. 6 ; ii. 4 ; Venus and Adonis, I. 649 ; the forgeries of, Mid- 
summer-Nighfs Dream, ii. 2 ; Romeo and Juliet, iv. 4. 

Jephthah, III. Henry VI.. v. 1 ; Hamlet, ii. 2. 

Jerkin, a buff (sheriff's coat), /. Henry IV., i. 2 ; an old cloak 
makes a new, Merry Wives of Windsor, i. 3. 

Jeronimy, Saint, Taming of the Shrew, induction, 1. Supposed 
to be Sly's blunder for a phrase from Thomas Kyd's play "The 
Spanish Tragedy; or, Hieronimo is Mad again," published in 1603, 
but acted before that time. Ben Jonson played Hieronimo. " Go tjy, 
Hieronymo," was much quoted in fun in Shakspere's day. 

Jerusalem, King John, ii. 2 ; III. Henry VI, v. 4 ; King of. 
See Reignier. 

Jerusalem Chamber, the, II. Henry I V., iv. 4. 

Jessica, daughter of Shylock in the Merchant of Venice, intro- 
duced in ii. 3. 

" The little Jessica is placed by the poet no higher than she could 
be ; brought up, as she was, without a mother, in the society of Shy- 
lock and Launcelot, with a mind entirely child-like, naive, true, and 
spotless ; and, if we may trust Lorenzo's words and her sure percep- 
tion of the greatness of Portia, with a capacity for true wisdom. . . . 
Launcelot also bears a relation to the common idea of the piece. 



INDEX TO SHAKSPERE'S WORKS. 177 

Greedy and rough as he is, he also is inclined to lack economy. . . . 
Otherwise the scene with his father is exhibited in parodic contrast 
to Jessica's relation with hers. The emphasis of the scene lies in the 
words that the son of a father must ever come to light, that child- 
like feeling can never be renounced, not even by so coarse and blunt 
a fellow as this. How much more should this be the case with a be- 
ing so ethereal as Jessica ! But that it is not so is the strongest 
shadow thrown by the poet upon Shylock ; he has not designed by it 
to cast any upon Jessica. ' She is damn'd,' says Shylock. ' That's 
certain, if the devil may be her judge,' answers Salarino." — Ger- 
vinus. 

Jest(s), an unseen, Two Gentlemen of Verona, ii. 1; the prosper- 
ity of a, Love's Labour's Lost, v. 2, " Why, that's the way," etc. ; a, 
in a fool's ear, Hamlet, iv. 2 (or v. 6) ; at scars, Romeo and Juliet, ii. 
2 ; effect of a, //. Henry IV., v. 1. See Jokes, Wit. 

Jest (masque), Richard II., i. 3. 

Jesters do oft prove prophets, King Lear, v. 3 ; drive off melan- 
choly, Comedy of Errors, i, 2. 

Jester(s), reform for a, Love's Labour's Lost, v. 2 ; oft prove 
prophets, King Lear, v. 3. 

Jesters. Touchstone in As You Like It, Feste in Twelfth 
Night, the clown in AlVs Well that Ends Well, and the fool in 
King Lear, are the most noteworthy jesters in the plays. 

Jet (strut), Cymbeline, Hi. 3, and elsewhere. 

Jewel(s), move a woman's mind, Two Gentlemen of Verona, Hi. 
1 ; best enamelled, Comedy of Errors, ii. 1 : in the toad's head, As 
You Like It, ii. 1; mine eternal, Macbeth, Hi. 1; my heavenly. 
See Have I caught, etc. 

Jeweller, a, in Timon of Athens, i. 1, seeking patronage. 

Jewess's eye, Merchant of Venice, ii. 5. The Jews were forced 
to pay the price of an eye — that is, a ransom — to save themselves 
from mutilation, hence the proverb, " Worth a Jew's eye." Another 
explanation, however, makes the expression a corruption of the 
Italian for jewel, gioia. 

Jewry, the sepulchre in, Richard II, ii. 1. 

Jew(s), would have wept, Two Gentlemen of Verona, ii. 3 ; used 
opprobriously, Two Gentlemen of Verona, ii. 5 ; I am a, if, Much Ado 
about Nothing, ii. 3 ; treatment of, Merchant of Venice, i. 3; ii. 2 ; 
of like nature with Christians, Merchant of Venice, Hi. 1 ; an Ebrew, 
I. Henry IV., ii. //.', blaspheming, Macbeth, iv. 1. 

Jezebel, Twelfth Night, ii. 5. 

Jig (a dance), 3Iuch Ado about Nothing, ii. 1 ; Twelfth Night, 
i. 3. The name was also applied to a comic recitation or song, given 



178 INDEX TO SHAKSPERE'S WORKS. 

by the clown and accompanied with dancing and playing on the 
pipe or tabor, Hamlet, ii. 2 ; your only (only your) jig-maker, Ham- 
let, Hi. 2. 

Joan of Arc, La Pucelle, character in I. Henry VI., first appears 
in i. 2, where she convinces the dauphin of her mission by fighting 
with and conquering him. In v. 3, she summons fiends to her aid, 
but is taken by York ; in v. 4, she denies her father, and is ordered 
to execution. Joan was burned at the stake in Rouen, May 30, 1431. 
History bears undisputed testimony to the purity, lofty enthusiasm, 
and disinterestedness of her character. In drawing her as a vile sor- 
ceress the authors of the play followed the English prejudice of the 
time. 

Job, allusion to the Book of, Merry Wives of Windsor, v. 1 ; 
poor as, Merry Wives of Windsor, v. 5. 

Jog on, jog on, the footpath way, A Winter's Tale, iv. 2 or 
3. Part of an old round for three voices. 

John, King, drama of. See King John. 

John, King of England from 1199 to 1216, succeeded his brother 
Richard I., or Cosur de Lion, according to a will that he brought 
forward after Richard's death, though Richard had named his 
nephew Arthur his successor in 1190. John's title was further con- 
firmed by an election, the hereditary principle in succession not hav- 
ing been established at that time. The story, in v. 6, that he was 
poisoned by a monk, is not found in the histories of the time, but is 
mentioned by Holinshed. Of the character of John as delineated in 
the play, Gervinus says : 

"He is not the image of a brutal tyrant, but only the type of the 
hard, manly nature, without any of the enamel of finer feelings, and 
without any other motives for action than those arising from the 
instinct of this same inflexible nature and of personal interest. Se- 
vere and earnest, an enemy to cheerfulness and merry laughter, con- 
versant with dark thoughts, of a restless, excitable temperament, he 
quickly rises to daring resolves. ... No higher principle sustains 
the man and his energetic designs in time of danger; the great idea 
at the outset of his career leaves him during its progress and at its 
end. After his power, thus displayed against France, has risen even 
to the defiance of the Pope and the Church, and to the inconsiderate 
design upon the life of a child whose temper was not to be feared, 
and had not even been tried by him, it sinks down, struck by con- 
science, by curses, and by prophecies, by dangers without and with- 
in ; he becomes anxious, mistrustful, superstitious, fearful to absolute 
weakness and to a degree of faint-hearted ness, in which he sells his 
country as cheap as once, in his self-confidence, he had held it dear 
and defended it boldly." 



INDEX TO SHAKSPERE'S WORKS. 179 

John of Gaunt. See Gaunt. 

John of Lancaster. See Lancaster. 

John, Don, bastard brother of Don Pedro in Much Ado about 
Nothing, introduced in i+ 1. He is of black and sour disposition, 
and the villain of the play. His jealousy at the honour Claudio has 
brought from the wars, and of Don Pedro's love for him, leads him 
to prepare the plot against Hero to destroy her happiness and that 
of Claudio. 

John, a Franciscan friar in Romeo and Juliet, introduced in 
v. 2. 

John-a-dreams, Hamlet, ii. 2. A sleepy or absent-minded fellow. 

Joint ring (a double ring used as a lover's token), Othello, 
iv, 3. 

Jokes, practical, on the tinker, Taming of the Shrew, induction ; 
on Malvolio, Twelfth Night, ii. 3 ; on Aguecheek, Twelfth Night, 
Hi. 4 ; on Falstaff, Merry Wives of Windsor, Hi. 3 ; v. 3-5 ; I. Hen- 
ry IV., i. 2; ii.2,4. 

Joshua, one of the nine worthies (q. v.), Love's Labours Lost, 
v. 1. 

Jourdain, Margery, a witch in II. Henry VI, introduced in i. 4. 

Journeys, from and toward one loved, Sonnets I., Ii. 

Joust, a, Pericles ii. 2. 

Jove, Troilus and Cressida, ii. 3 ; lightnings of, The Tempest, 
i. 2 ; oak of, The Tempest, v. 1 ; thunder of, Measure for Measure, 
ii.2; would swear Juno an Ethiope, Love's Labour's Lost, iv. 3 ; the 
page of, As You Like It, i. 3 ; in a thatched house, see Ovid; do- 
ing of, Twelfth Night, Hi. 4 ; his forehead, Hamlet, Hi. 4 / bless thee. 
Twelfth Night, iv. 2. Used here for God, because of the law against 
the use of God's name on the stage. Laughs at lover's perjuries, 
Romeo and Juliet, ii. 2 ; thunder-darter, Troilus and Cressida, ii. 3 ; 
bird of, Cymbeline, iv. 2. 

Joy, shown by tears — better to weep at, than, etc., Much Ado 
about Nothing, i. 1 ; silence the herald of, Much Ado about Nothing, 
ii. 1; description of, A Winter's Tale, v. 2 ; from wondering— to 
weeping, II Henry VI, i. 1 ; sudden, Pericles, v. 1 ; expression of, 
Coriolanus, ii. 1 ; iv. 5 ; v. 4 ', subtle, Troilus and Cressida, Hi. 2. 

Judas, hanged on an elder-tree, Love's Labour's Lost, v. 2 ; his 
hair, As You Like It, Hi. 4. It was believed to have been red. His 
kiss, HI. Henry VI, v. 7 ; three Judases, Richard II, Hi. 2 ; iv. 1. 

Judas Maccabaeus, one of the nine worthies (q. v.), Love's La- 
bour's Lost, v. 1, 2. 



180 INDEX TO SHAKSPERE'S WORKS. 

Judge(s), what 'twere to be a, Measure for Measure, ii. 2 ; a wise 
and upright, Merchant of Venice, iv. 1 ; the incorruptible, Henry 
VIII., Hi. 1 ; delaying, Coriolanus, ii. 1. 

Judgment, conceit of one's own, corrected, AWs Well that Ends 
Well, iv. 3 ; of heaven, 1. Henry IV., Hi. 2 ; a grand juryman since 
Noah, Twelfth Night, Hi. 2 ; fled to beasts, Julius Caesar, Hi. 2 ; on 
earth, Macbeth, i. 7 ; of men, a parcel of their fortunes, Antony and 
Cleopatra, Hi. 11 or 13 ; a Daniel come to, Merchant of Venice, iv. 
1 ; hath bred a kind of remorse, Richard III, i. 4 ; repented of, 
Measure for Measure, ii. 2 ; without which (reason) we are pictures 
or mere beasts, Hamlet, iv. 5. See Justice. 

Judgment-day, the, Richard III, i. 4; I. Henry VI, i. 1. 
See Doomsday. 

Julia, a sweet, unselfish character, the first love of Proteus, in 
the Two Gentlemen of Verona, introduced in i. 2. 

Juliet, a character in Measure for Measure, appears in ii. 3, 
betrothed to Claudio. She is meek, weak, and patient. 

Juliet, heroine of Romeo and Juliet, introduced in i. 3 ; her 
beauty, ii. 2; her wit and dignity, Hi. 5; meets Romeo, i. 5; is 
married, ii. 6 ; drinks the potion, iv. 3; stabs herself, v. 3. See 
under Miranda. 

"Juliet is love itself. The passion is her state of being, and out 
of it she has no existence. . . . Such, in fact, are the simplicity, the 
truth, and the loveliness of Juliet's character, that we are not at first 
aware of its complexity, its depth, and its variety. There are in it an 
intensity of passion, a singleness of purpose, a completeness of effect, 
which we feel as a whole." — Mrs. Jameson. 

Julius Caesar, an historic tragedy, first published in 1623. The 
date of writing is not certainly known, but the critics assign it to the 
year 1600 or 1601, judging from internal evidence as well as from an 
allusion to Antony's speech in a poem printed in 1601. Sir Thomas 
North's translation of Plutarch furnished the materials, which are 
taken from the lives of Ca?sar, Brutus, and Antony. The action 
covers the space from the feast of Lupercalia, February 13, B. c. 44. 
to the battle of Philippi, in the autumn of 42, a period of about two 
and a half years. There is an allusion to a play called "Julius 
Caesar" in Hamlet, Hi. 2, which by some is supposed to refer to this 
drama. But it may refer to a Latin drama on the subject, by Rich- 
ard Eades, which was played at Oxford in 1582. 

" Everything is wrought out in the play with great care and com- 
pleteness; it is well planned and well proportioned; there is no 



INDEX TO SHAKSPERE'S WORKS. 181 

tempestuousness of passion, and no artistic mystery. The style is 
full, but not overburdened with thought or imagery ; this is one of 
the most perfect of Shakspere's plays ; greater tragedies are less per- 
fect, perhaps for the very reason that they try to grasp greater, more 
terrible, or more piteous themes." — Dowden. 

Julius Caesar. See Cjesar. 

Jump (risk) the life to come, Macbeth, i. 7 ; a body with a dan- 
gerous physic, Coriolanus, iii. 1 ; fortune lies upon this jump, Anto- 
ny and Cleopatra, Hi. 8. 

Jump (opportunely), Hamlet, i. 1 ; Othello, ii. 3. 

Juno, The Tempest, iv. 1 ; an Ethiope, Love's Labour's Lost, iv. 
8 ; swans of, As You Like It, i. 3 ; his despiteful, AIVs Well that 
Ends Well, iii. 4, alluding to the story of Hercules or that of iEneas ; 
A Winter's Tale, iv. 3 or 4 ; Antony and Cleopatra, iv. 13. 

Jupiter, Merry Wives of Windsor, v. 5 ; As You Like It, iii. 
2; A Winter's Tale, iv. 3 or 4> in a vision, Cymbeline, v. 4.; An- 
tony and Cleopatra, iii. 2 ; Titus Andronicus, iv. 3 ; v. 2 ; Troilus 
and Cressida, iv. 5 ; v. 1. See Jove and Philemon. 

Jury, the, may have one guiltier than the prisoner, Measure for 
Measure, ii. 1. 

Justice, sleeping, Measure for Measure, i. 4; seizes what it 
sees, Measure for Measure, ii. 1; and mercy, Measure for Measure, 
ii. 2 ; innocence with, Measure for Measure, iv. 2 ; " His life is 
paralleled," etc., Merchant of Venice, iv. 1 ; of condemning by sur- 
mises, A Winter's Tale, iii. 2 ; course of Shallow's, II. Henry I V. t 
v, 1 ; scales of, II. Henry VI., ii. 1 ; not to be judged by results, 
Troilus and Cressida, ii. 2 ; gone from earth, Titus Andronicus, iv. 
3 ; even-handed, Macbeth, i. 7 ; against gold, King Lear. iv. 6 ; of 
the gods, King Lear, v. 3 ; delays of, Lucrece, I. 906 ; impartial, 
Richard IL, i. 1 ; of Heaven, Hamlet, iii. 3. 

Justice, description of a, As You Like It, ii. 7 ; of the peace, 
II. Henry VI, iv. 7. 

Justicer (judge), King Lear, iii. 6 ; iv. 2 ; Cymbeline, v. 5. 

Justify (prove), The Tempest, v. 1. 

Juvenal (youth), Love's Labour's Lost, i. 2 ; Hi. 1; II. Henry 
IV., i. 2 ; Midsummer- Night's Dream, iii. 1. 

Earn, clean (all crooked), Coriolanus, iii. 1. 

Kate, name given to Hotspur's wife, whose real name was Eliza- 
beth ; play on the name, Taming of the Shrew, ii. 1. 

Katharine, one of the ladies attending the princess in Love's 
Labour's Lost, introduced in ii. 1. She is sought in marriage by 



182 INDEX TO SHAKSPERE'S WORKS. 

Dumain, but puts him off for a twelvemonth and a day. She was 
pock-marked, as appears by a jest of Rosalind in v. 2. 

Katherina, the heroine of the Taming of the Shrew, introduced 
in i. 1, ; ' Like a wasp, like a foal that kicks from its halter — pert, 
quick, and determined, but full of good heart." 

Katherine, daughter of Charles VI. of France, character in 
Henry V., first appears, Hi. 4. She afterward became the wife of 
the English king ; the betrothal, v. 2. 

Katherine of Aragon, Queen, character in Henry VIII., intro- 
duced in i. 2. The subject of her divorce from Henry is discussed in 
ii. 1, 2 ; her goodness, ii. 2, 4 ,' her petition to the king, the trial, 
and her reproaches to Wolsey, ii. 4> interview with the cardinals, 
Hi. 1 ; the divorce, in. 1 ; her vision, letter to the king, and approach- 
ing death, iv. 2. The character of Katherine in the play is very 
noble ; her pride of birth and station never deserts her, but it is 
united with religious meekness and long-enduring affection, and 
gives a noble dignity and pathos to her words and the struggle to 
maintain the position to which she feels she has a right. In the 
scenes where she appears, Shakspere has followed the chronicles 
in the main, only giving poetic grouping and colouring to their 
accounts. The scene in which the vision appears to the queen is 
attributed to Fletcher. 

Kecksies. See Kexes. 

Keech (a lump of fat), Henry VIIL, i. 1. Alluding to Wolsey's 
corpulence, and his being reputed a butcher's son ; I. Henry IV., i. 4- 

Keel (cool), Love's Labour's Lost, v. 2. 

Keisar, Merry Wives of Windsor, i. 3. Emperor. 

Kendal Green, I. Henry IV., ii. 4, colour worn by Robin 
Hood's men. Cloth Was made at Kendal in Westmoreland. 

Kenilworth Castle, II. Henry VI, iv. 4 ; scene of II. Henry 
VI, iv. 9. An ancient castle, now in ruins, about five miles from War- 
wick and the same distance from Coventry. The first castle, which 
was destroyed in the eleventh century in the wars between Edmund 
Ironside and Canute the Dane, is supposed by some antiquaries to 
have been founded in the time of Kenelph, a King of Mercia, and to 
have taken its name from him. The present castle was built by 
Geoffrey de Clinton in the reign of Henry I. It belonged success- 
ively to many of the greatest subjects of the Kings of England — in- 
cluding Simon de Montfort, John of Gaunt, and Dudley, Earl of Lei- 
cester — and several times reverted to the crown. John of Gaunt 
made many additions to the castle, which are still known as Lan- 



INDEX TO SHAKSPERE'S WORKS. 183 

caster's Buildings, and the celebrated Earl of Leicester, Elizabeth's 
favorite, many more, called Leicester's Buildings. Cromwell's sol- 
diers plundered the castle and left it in ruins. Some parts have 
since been repaired, and excavations have revealed underground 
: apartments and passages long hidden. During the Wars of the 
Roses the castle was sometimes in the possession of one party, some- 
times in that of the other. Henry VI. retired to it in some times of 
adversity, as in the text. 

Kennel (gutter), II. Henry VI, iv. 1. 

Kent, a southeastern county of England, scene of II Henry 
VI, iv. 1; Caesar on the people of, 11. Henry VI, iv. 7 ; men of, 
III Henry VI, i. 2 ; rebellion in, Richard III, iv. 4. 

Kent, Thomas Holland, Earl of, beheaded, Richard II, 
v. 6. 

Kent, the Earl of. character in King Lear, introduced in i. 1, 
where he is banished by Lear for remonstrating against the treat- 
ment of Cordelia ; he follows the king, however, in his misfortune, 
acting as his servant under the name of Caius, and brings about the 
meeting with Cordelia in the last scene. See under King Lear. 

" Kent is perhaps the nearest to perfect goodness in all Shak- 
spere's characters, and yet the most individualized. There is an ex- 
traordinary charm in his bluntness, which is that only of a nobleman 
arising from a contempt of overstrained courtesy, and combined with 
easy placability where goodness of heart is apparent." — Coleridge. 

Kerns (light-armed troops from Ireland), Macbeth, i. 2, and else- 
where. 

Ketly, Sir Richard, his death, Henry V., iv. 8. 

Kexes (hollow-stemmed weeds), Henry V, v. 2. 

Kildare, Earl of, Henry VIII, ii. 1. 

Killing, a trifle, I. Henry IV., ii. 4', in defense, Timon of Ath- 
ens, in. 5 ; do all men kill the things they do not love ? Merchant of 
Venice, iv. 1; 1 promised to eat all of his, Much Ado about Noth- 
ing, i. 1. 

Killingworth. See Kenilworth. 

Kiln-hole (fireplace), A Winter's Tale, iv. 3 or 4. 

Kimbolton, a castle in Huntingdonshire belonging to the Duke 
of Manchester, the scene of Henry VIII, iv. 2. Katherine's jewel- 
chest and some of her clothing are still shown there. 

Kin, a little more than, Hamlet, i. 2 ; one touch of nature makes 
the whole world, Troilus and Cressida, Hi. 3. 

Kind, kindless, kindly (nature, unnatural, naturally), AIVs Well 



184 INDEX TO SHAKSPERE'S WORKS. 

that Ends Well, i. 3 ; Taming of the Shrew, induction, 1 ; Hamlet, 
ii. 2 ; Antony and Cleopatra, v. 2, and elsewhere. 

Kindness, Twelfth Night, i. 5, " What is yours to bestow," etc. ; 
Timon of Athens, i. 1, 2, " We are born to do benefits," etc. ; to kill 
with, Taming of the Shrew, iv. 1 ; in women, wins love, Taming of 
the Shrew, iv. 2 ; nobler than revenge, As You Like It, iv. 3 ; power 
of, A Winter's Tale. i. 2 ; recalled, King John, iv. 1. 

King, On the, a quatrain attributed to Shakspere, and usually 
placed at the end of the miscellaneous poems. If it is his, it of 
course refers to James I., who liked to be flattered about his learn- 
ing. It exists in a manuscript written in the time of his successor, 
in which the verses are entitled " Shakspere on the King." 

King Cophetua, ballad of, Love's Labour's Lost, i. 2. 

Kingdom, a diseased, II. Henry IV., Hi. 1 ; partition of a, King 
Lear, i. 1 ; divisions in a, King Lear, Hi. 1, 3 ; any oath may be 
broken for a, III. Henry VI., v. 2 ; a, for a grave, Richard II., in. 
3 ; for a horse, Richard III, v. 4 ; for a mirth, Antony and Cleo- 
patra, i. 4- 

King Henry the Fourth, Parts I. and II. These two plays 
may be regarded as essentially one. The first part was written in 
159G-'97, the second in 1597-'98. The first part was published in 
1598, the second in 1600. The sources from which it was in part 
drawn were the " Chronicles " of Holinshed and an older play, " The 
Famous Victories of Henry the Fifth, containing the Honourable 
Battell of Agincourt." From the play were gathered the hints for 
the wild pranks of the prince and his low companions. Among them 
was one Sir John Oldcastle, the name borne by Falstaff in the first 
editions of Shakspere's play, though he has little to say or do in the 
old drama. (See Oldcastle.) The period of action of Part I. ex- 
tends from the battle of Holmedon Hill. September 14, 1402, to the 
battle of Shrewsbury. July 21, 1403. Part II. extends from that 
time to the death of Henry IV. in 1413. These two plays, with Hen- 
ry V., which is a continuation of them, are the finest of the English 
historical plays. See Henry IV. 

"None of Shakspere's plays are more read than the First and 
Seccnd Parts of Henry the Fourth. Perhaps no author has ever, in 
two plays, afforded so much delight. The great events are interest- 
ing, for the fate of kingdoms depends on them ; the slighter occur- 
rences are diverting, and, except one or two, sufficiently probable ; 
the incidents are multiplied with wonderful fertility of invention, 
and the characters diversified with the utmost nicety of discernment 
and the profoundest skill in the nature of man. . . . The character 



INDEX TO SHAKSPERE' S WORKS. 185 

[of the prince] is great, original, and just. Percy is a rugged sol- 
dier, choleric and quarrelsome, and has only the soldier's virtues, 
generosity and courage. But Falstaff ! unimitated, unimitable Fal- 
.staff ! how shall I describe thee 1 thou compound of sense and vice ; 
of sense which may be admired, but not esteemed ; of vice which 
may be despised, but hardly detested. Falstaff is a character loaded 
with faults, and with those faults which naturally produce contempt. 
He is a thief and a glutton, a coward and a boaster ; always ready to 
cheat the weak and prey upon the poor ; to terrify the timorous and 
insult the defenseless. . . . Yet the man thus corrupt, thus despica- 
ble, makes himself necessary to the prince that despises him, by the 
most pleasing ,of all qualities, perpetual gaiety, by an unfailing 
power of exciting laughter, which is the more freely indulged, as his 
wit is not of the splendid or ambitious kind, but consists in easy 
scapes and sallies of levity, which make sport, but raise no envy." — 
Johnson. 

King Henry the Fifth, which, as promised in the epilogue to 
the second part of Henry IV., continues the story, was probably 
written in 1598 or 1599 : the prologue or chorus to Act v. has a refer- 
ence to the absence of Essex in Ireland, the time of which was be- 
tween March and September, 1599. There is also a reference to 
■ this wooden 0," the Globe Theatre, built in 1599. An unauthor- 
ized and imperfect edition was published in 1600, and the full text 
in 1623. For the source drawn upon, see King Henry IV. The 
time of action is from 1414 to 1420. See Henry V. Dowden says : 

" In this play Shakspere bade farewell in trumpet tones to the 
history of England. It was a fitting climax to the great series of 
works which told of the sorrow and the glory of his country, embody- 
ing as it did the purest patriotism of the days of Elizabeth." 

King Henry the Sixth. The three plays that bear this name 
were produced early in Shakspere's career, the first from 1590 to 
1592, the second and third from 1592 to 1594, probably. 

The first part is held to be mostly from other hands than Shak- 
spere's, an old play, perhaps, by Marlowe, with the assistance of 
Greene or Peele, touched up by Shakspere, to whom are attributed 
the fourth scene of Act u., and that between Margaret and Suffolk, 
v. 3. The time of action is 1422 to 1444. The facts are drawn from 
Holinshed. The second and third parts are rewritten from two 
older plays: "The First Part of the Contention betwixt the Two 
Famous Houses of York and Lancaster," etc., and " The True Trage- 
die of Richard Duke of York and the Death of Good King Henrie 
the Sixt." Critics differ about these plays ; some holding that Shak- 
spere had a hand in them, others that they were written by Greene, 
Marlowe, and Peele, one or more of them ; and some attributing the 



186 INDEX TO SHAKSPERE' S WORKS. 

entire revision to Shakspere, others supposing that Marlowe assisted 
him. The period of action of the second part is 1445 to 1455 ; that 
of the third part, 1455 to 1471. The events connected with Dame 
Eleanor in the second part really took place some years before the 
opening of the play. With this exception the events generally fol- 
low in historical order. 

King Henry the Eighth was first published in the folio of 
1623. It is supposed to have been written in 1612 or 1613, last of 
all the plays, after Shakspere had left the theatre. It is mentioned 
under the present title, and also under that of " All is True," as hav- 
ing been on the stage the night the Globe Theatre was burned, June 
26, 1613, the fire having been caused by the discharge of some cham- 
bers during the play. Sir Henry Wotton speaks of it in this connec- 
tion as a new play. The material is taken from the " Chronicles " of 
Holinshed and Stowe, and from Foxe's " Acts and Monuments of 
the Church." Some critics think they find evidence that Fletcher 
had a hand in the writing of the play. The action covers the period 
from 1521 to 1533. Some of the events are moved from their actual 
sequence in the history, as the death of Katherine, which took place 
in 1536. The prologue and epilogue are generally believed to be 
the work of another hand. See Henry VIII. 

King John, the earliest of the historic dramas as to the period 
of action, was written probably later than Richard II, Richard III., 
and Henry VI. The date assigned for the writing is 1595. The first 
known drama founded on the reign of John is " The Pageant of 
Kynge Johan," by Bishop Bale, supposed to have been written in 
the reign of Edward VI. It has a distinct religious purpose, being 
full of ferocious anti-popish bigotry, and it introduces among real 
historical characters allegorical figures, such as Treason, Verity, 
England, Sedition, after the fashion of the old moralities. This 
play was succeeded by "The Troublesome Reign of King John," 
published in 1591 and by a few critics supposed to be from Shak- 
spere's hand. Upon it the present play is founded. King John fol- 
lows the truth of history less closely than the other English histori- 
cal plays : the king's unpopularity and troubles are made to result 
from his treatment of Arthur ; Constance is represented as a widow 
and living at the time Arthur fell into the hands of John (see Con- 
stance) ; and the Archduke of Austria and the Viscount of Lymo- 
ges are united in the same person (see Austria) ; the imprisonment 
and death of Arthur are represented as taking place in England in- 
stead of France ; the quarrel between John and the Pope is ante- 



INDEX TO SHAKSPERE 'S WORKS. 187 

dated by several years. Most of these departures from fact were in 
the older play. See John. 

King Lear, one of the greatest of the tragedies, was first pub- 
lished in 1608, three editions having appeared in that year. The 
evidence points to the year 1605 as the date of writing. The story 
of Lear was first told, so far as is known, by Geoffrey of Monmouth, 
who wrote a history of Britain in the twelfth century. Holinshed 
also tells it, and there was an older play on the subject which was 
published in 1594. The story is also told in Higgins's " Mirror for 
Magistrates " and Spenser's " Faerie Queene." The part of Glouces- 
ter and his sons Shakspere found in Sidney's "Arcadia," "The 
Paphlagonian Unkind King." The time of action is about 800 b. c, 
the date given by Geoffrey of Monmouth. See Lear. 

" This firm faith in filial piety, and the giddy anarchy and whirl- 
ing tumult of the thoughts at finding this prop failing it, the con- 
trast between the fixed, immovable basis of natural affection and 
the rapid, irregular starts of imagination, suddenly wrenched from 
all its accustomed holds and resting-places in the soul — this is what 
Shakspere has given, and what nobody else could give." — Hazlitt. 

" So ends King Lear, the most stupendous of the Shaksperean 
dramas ; and Kent, the noblest feature of the conceptions of his di- 
vine mind. This is the magnanimity of authorship, when a writer, 
having a topic presented to him, fruitful of beauties for common 
minds, waives his privilege and trusts to the judicious few for un- 
derstanding the reason of his abstinence. What a pudder would a 
common dramatist have raised here of a reconciliation-scene, a per- 
fect recognition between the assumed Caius and his master ! — to the 
suffusing of fair eyes and the moistening of cambric handkerchiefs. 
The old, dying king partially catching at the truth, and immediately 
lapsing into obliviousness, with the high-minded carelessness of the 
other to have his services appreciated, as one that — 
' Served not for gain, 
Or followed out of form ' — 
are among the most judicious, not to say heart-touching, strokes in 
Shakspere." — Charles Lamb. 

King Richard the Second, second of the historical plays as to 
the period of action, was written before King John, and perhaps 
earlier than any other of the histories except I. Henry VI. — that is, 
in 1593 or 1594. The play was first published in 1597, a second edi- 
tion appeared in 1598, and in 1608 a third, with the following added 
to the title : " With new additions of the Parliament sceane and the 
deposing of King Richard." The additions were in iv, 1, one hun- 
dred and sixty-four lines. There is evidence that they were origi- 
nally in the play ; and they were presumably omitted in deference to 
Elizabeth, who was sensitive on the subject of the deposition of sov- 
17 



188 INDEX TO SHAKSPERE'S WORKS. 

ereigns. There were two other plays on the same subject, but the 
source from which Shakspere drew was Holinshecl's " Chronicles." 
There are some few departures from fact in the play, mostly in the 
age of the characters. The queen, for instance, was but nine years 
old at the time of Bolingbroke's banishment (1398) ; John of Gaunt, 
spoken of repeatedly as a very old man, was fif ty-eight ; Prince Hen- 
ry was but eleven (v. 3) ; and Norfolk was but thirty when he speaks 
(*. 3) of " the language 1 have learned these forty years." The period 
of action is from September, 1398, to February, 1400. The scene is 
in different parts of England and in Wales. See Richard II. 

*' In itself, and for the closet, I feel no hesitation in placing it as 
the first and most admirable of all Shakspere's purely historical 
plays. . . . But, however unsuited to the stage this drama may be, 
God forbid that even there it should fall dead on the hearts of 
jacobinized Englishmen ! . . . For the spirit of patriotic reminiscence 
is the all-permeating soul of this noble work." — Coleridge. 

King Richard the Third, the best known and most popular 
of the histories, was first published in 1597, and is held to have 
been written about 1592-94, directly after Henry VI. In the opin- 
ion of some critics, Marlowe had a hand in its production. The 
facts were drawn from the " Chronicles " of Holinshed and Hall. 
There were two older plays on the subject, one in English, " The 
True Tragedie of Richard the Third," and one in Latin by Thomas 
Legge, " Richardus Tertius ; " but Shakspere took nothing from 
them. The play takes up English history where III. Henry VI. 
leaves it, after the battle of Tewksbury in 1471, and brings it to that 
of Bosworth and the fall of Richard in 1485. Although far from 
being one of Shakspere's best plays, Richard III. has always been 
popular, especially on the stage — where, however, Colley Cibber's 
version has usually been given — from the singular and intense char- 
acter of the king and the rapid action of the plot. By the English 
of Elizabeth's time it was especially liked, because it brought in the 
first Tudor king as the saviour of his country. See Richard III. 

King(s), murder of, A Winter's Tale, i. 2, " If I can find exam- 
ple," etc. ; prerogative of, ii. 1, " Why, what need we," etc. ; children 
of, iv. 1 or 2 ; quarrels of, King John, ii. 1 or 2 ; conduct becoming, 
King John, v. 1 ; the curse of, King John, iv. 2 ; sacredness of, Rich- 
ard II, i. 2 ; Hi. 2 ; power of words of, Richard II, i. 3 ; advice 
to, Richard II, ii. 1 ; reverence due to, Richard II, in. 3 ; deposi- 
tion of, Richard II, Hi. 2, 3 ; iv. 1 ; v. 1 ; woe's slaves, Richard II, 
Hi. 2 ; sentenced by subjects, Richard II, iv. 1; confession de- 



INDEX TO SHAKSPERE'S WORKS. 189 

manded of, Richard II, iv. 1 ; treatment of a, deposed by the popu- 
lace, Richard II., v. 2 ; remorse of a, Richard II, Hi. 2 ; rights of, 
/. Henry IV., i. 3 ; too lavish of his company, I. Henry IV., Hi. 2 ; 
murder of the wardrobe of the, I. Henry I V., v. 3 ; fickleness of the 
populace toward, II. Henry IV., i. 3 ; kin to, II. Henry IV., ii. 2 ; 
uneasiness of, II. Henry IV., Hi. 1 ; majesty of, like heavy armour, 
II. Henry IV., iv. 4; what have, that privates have not — cares of — 
but a man — responsibility of, Henry V., iv. 1 ; presence of a, /. Hen- 
ry VI., Hi. 1; troubles of a, II Henry VI., iv. 9 ; cares of a, III. 
Henry VI, ii. 5; prophecy concerning a future (Richmond), 111. 
Henry VI., iv. 6 ; his name a tower of strength, Richard III., v. 3 ; 
danger of crossing the pleasure of, Henry VIII, Hi. 1 ; honour of 
a, Troilus and Cressida, ii. 2 ; the Lord's anointed temple, Macbeth, 
ii. 3 ; graces becoming a, Macbeth, iv. 3 ; many lives dependent on 
a, Hamlet, Hi. 3 ; divinity doth hedge a, Hamlet, iv. 5 (or 2); prog- 
ress of, Hamlet, iv. 3 (or v. 7) ; every inch a, King Lear, iv. 6 ; 
smiles and frowns of, reflected, Cymbeline, i. 1; vices of, Pericles, i. 
1 ; secrets of, Pericles, i. 3 ; misdeeds of, Lucrece, I. 609 ; like the 
sea, Lucrece, I. 652 ; their baseness worse, Lucrece, I. 1002 ; knowl- 
edge in a, On the King ; annoyed by crowds, see James I. ; adviser 
of a, II. Henry IV., iv. 2 ; a versatile, Henry V., v. 1 ; troubles of a, 
Richard III., i. 4 ; Mulmutius, the first, of Britain, Cymbeline, Hi. 
1 ; flattery of, Pericles, i. 2. See Crown. 

King Stephen was a worthy peer, song, Othello, ii. 3. 

King's evil, the, Macbeth, iv. 3. A compliment to James L, 
who revived the old superstitious ceremony of touching the scrofu- 
lous, who were supposed to be healed by the touch of a king. 

Kinship, claims of, As You Like It, i. 1 ; power of, Coriolanus, 
v. 3 ; instinct of, Cymbeline, iv. 2. See Blood. 

Kisses, to shadows, Merchant of Venice, ii. 9 ; religious, As You 
Like It, Hi. 4 ; to fill pauses, As You Like It, iv. 1 ; at marriage, 
Taming of the Shrew, Hi. 2; Richard II., v. 1; four negatives. 
Twelfth Night, v. 1 ; women influenced by, A Winter's Tale, i. 2 ; 
given to a partner, Henry VIII., i. 4 ; of pilgrims — by the book, 
Romeo and Juliet, i. 5 ; hard, Othello, Hi. 3; Venus and Adonis, 
lines 18, 54, 84, 96, 115, 207, 479, 511, 536 ; I. Henry IV., Hi. 1 ; 
Coriolanus, v. 3 ; Othello, ii. 1 ; comfortless, as frozen water to a 
starved snake, Titus Andronicus, Hi. 1 ; to every sedge, Two Gentle- 
men of Verona, ii. 7 ; kingdoms and provinces kissed away, Anto- 
ny and Cleopatra, Hi. 8. 

Knapped (snapped), Merchant of Venice, Hi. 1. 



190 INDEX TO SHAKSPERE'S WORKS. 

Knave(s), or fool, All's Well that Ends Well, iv. 5 ; some most 
villainous, Othello, iv. 2 ; pleading for a, II Henry IV., v. 1 ; will 
backbite, 77. Henry IV.. v. 1 ; description of a, King Lear, H. 2 ; a 
slippery and subtle, Othello, ii. 1. 

Knell, it is a, Macbeth, ii. 1 ; iv. 3 ; v. 7 ; talks like a, Corio- 
lanus, v. 4. 

Knife, inscription on a, Merchant of Venice, v. 1. 

Knight, a carpet, Twelfth Night, Hi. 4, " on carpet considera- 
tion." 

Knighthood, will become hackneyed, Merry Wives of Windsor, 
ii. 2, " These knights will hack." A supposed allusion to the liberal- 
ity with which James I. bestowed the honour of knighthood. If so, 
the passage must have been inserted some time after the play was 
first presented. Another meaning has been suggested — namely, 
these knights will be degraded, " hack " being the term for taking 
off a knight's spurs. 

Knight of the Burning Lamp, I. Henry 1 V., Hi. 3. 

Knights, encounter of, Richard II, i. 3 ; at a tournament, 
Pericles, ii. 2. 

Knights of the Garter. See Garter, Order of the. 

Knocking, at the gate, the, Macbeth, ii. 2, 3. 

Knot-grass, hinders growth, Midsummer- Night 's Dream, Hi. 2. 
It was supposed that an infusion of knot-grass taken by a child 
would retard its growth. 

Knots, in trees, Troilus and Cressida, i. 3. 

Knowledge, too much, Love's Labour's Lost, i. 1; seeming. 
AIVs Well that Ends Well, ii. 3 ; accursed, A Winter's Tale, ii. 1; 
ill-inhabited (ill-housed). As You Like It, Hi. 3 ; the wing, where- 
with we fly to heaven, II. Henry VI., iv. 7 ; limited, Hamlet, i. 5, 
" There are more things in heaven and earth," etc. ; of the present 
only, Hamlet, iv. 5 or 2, " We know what we are, but," etc. 

Kyd, Thomas. See Jeronimy. 

Laban, Merchant of Venice, i. 3. 

Labienus, mentioned in Antony and Cleopatra, i. 2. 

Labour, menial, made pleasure, The Tempest, Hi. 1 ; physics 
pain, when delighted in, Macbeth, ii. 3; vain, Richard II, ii. 2; 
Henry V., iv. 1 ; III. Henry VI, i. 4. 

Labras (lips), Merry Wives of Windsor, i. 1. 

Lackbeard, my lord, Much Ado about Nothing, iv. 1. 

Ladies, know if they be fair, As You Like It, ii. 7. See Women. 



INDEX TO SHAKSPERE'S WORKS. 191 

Ladies' men, called lisping hawthorn-buds, Merry Wives of 
Windsor, Hi. 3. 

Lady, attending the queen in Richard II Eleanor Holland, 
widow of the fourth Earl of March. 

Lady, an old friend of Anne Boleyn in Henry VIII, sometimes 
called Lady Denny. 

Lady-smocks, Love's Labour's Lost, v. 2. 

" A white field-flower, called also mayflower and Canterbury bell. 
Growing in masses, it looks like linen bleaching." — White. 

Laertes, son of Polonius and brother of Ophelia, in Hamlet, in- 
troduced in i. 2. He is sent to Paris, and his father despatches Rey- 
naldo to watch him, ii. 1. He seeks vengeance for his fathers 
death, iv. 5 or 2, and the mob proclaim him king. He dies by his 
own treacherous weapons, v. 2. 

" Yet I acknowledge that Shakspere evidently wishes, as much as 
possible, to spare the character of Laertes — to break the extreme 
turpitude of his consent to become an agent and accomplice of the 
king's treachery ; and to this end he reintroduces Ophelia at the 
ciose of this scene to afford a probable stimulus of passion in her 
brother." — Coleridge. 

" And Laertes, who takes violent measures at the shortest notice 
to revenge his father's murder, is in another way a contrast [to 
Hamlet] ; but Laertes is the young gallant of the period, and his 
capacity for action arises in part from the absence of those moral 
checks of which Hamlet is sensible." — Dowden. 

Lafeu, an old lord in All's Well that Ends Well, introduced in 
i. 1, courtier-like and wordy, characterized by the king's words in 
ii. 1, " Thus he his special nothing ever prologues," but sound, true, 
and of quick discernment, the first to discover the true character of 
Parolles {ii. 3), " So, my good window of lattice, fare thee well ; thy 
casement I need not open, for I look through thee." 

La fin, etc., II. Henry VI, v. 2. The end crowns the work. 

Lakin (ladykin), The Tempest, Hi. 3. Little lady, the Virgin 
Mary. 

Lamb, the, entreats the butcher, Cymbeline, Hi. 4 ; and the fox, 
Measure for Measure, v. 1; Timon of Athens, iv. 3 ; and the wolf, 
III. Henry VI, i. 1, 4 ; in a borrowed skin, III. Henry VI, Hi. 1 ; 
follows the lion, III Henry VI iv. 8 ; doing the feats of a lion in 
the figure of a, Much Ado about Nothing, i, 1 ; offered up, Macbeth, 
iv. 3. 

Lambert's (St.) day (September 17th), Richard II, i. 1. 

Lamentations, moderate, for the dead, All's Well that Ends 



192 INDEX TO SHAKSPERE'S WORKS. 

Well, i. 1 ; the wise do not indulge in, III. Henry VI, v. 4 ; why 
should calamity be full of words, Richard III, iv. 4 ; ease the heart, 
Richard III, iv. 4 ; called for in advance, Troilus and Cressida, ii. 2. 

Lammas-tide (August 1st), Romeo and Juliet, i. 3. 

Lamont (or Lamond), a fencer spoken of in Hamlet, iv. 7 (or 4). 
This character is supposed to be intended for Raleigh. See under 
the name of the play. 

Lamps, aye-remaining, Pericles, Hi. 1. The perpetual lamps 
lighted for the dead. 

Lancaster, House of, its wars with the House of York. See 
Wars of the Roses. 

Lancaster, John of Gaunt, Duke of. See Gaunt. 

Lancaster, John, Prince of, character in both parts of Henry 
IV., and, under the title of Duke of Bedford, in Henry V. and I. 
Henry VI. In 1. Henry IV. he is introduced in i. 1, and in II. 
Henry 1 V. in iv. 2. In II. Henry IV., iv. 3, Falstaff describes him 
contemptuously as a demure and sober-blooded boy, and probably a 
coward. His father and brother, however, praise his bravery on the 
field of Shrewsbury. See Bedford. 

Land-damn, A Winter's Tale, ii. 1. Conjectured to be an allu- 
sion to the punishment of being half buried and left to starve. Per- 
haps it means to be forced to quit the land. 

Land(s), an owner of, spacious in the possession of dirt, Hamlet, 
v. 2 ; you have sold your own to see other men's, As You Like It, iv. 
1 ; cheap, I. Henry IV., ii. 4 ; nothing left of all my, but my body's 
length, III. Henry VI, v. 2 ; to be gained by wit, if not by birth, 
King Lear, i. 2. 

Langley, scene of Richard II, Hi. 4. There are fifteen places 
named Langley in England, widely separated, and it is difficult to 
say which is intended. 

Langton, Stephen, Archbishop of Canterbury, King John, Hi. 1. 

Language, taught to Caliban, The Tempest, i. 2 ; stilted, Love's 
Labour's Lost, iv. 2 ; v. 1 ; travesty on high-flown, Love's Labour's 
Lost, i. 1 ; iv. 1 ; Hamlet, v. 2 ; pretended, All's Well that Ends Well, 
iv. 1 ; bolted, Coriolanus, Hi. 1 ; he speaks holiday, Merry Wives of 
Windsor, iii. 2 ; in movement, Troilus and Cressida, iv. 5. 

Lantern, Romeo and Juliet, v. 3. A lanternium, a high tur- 
ret full of windows. 

Lanthorn, of the man in the moon, the, Midsummer-Night's 
Dream, iii. 1; v. 1 ; in the nose, I. Henry I V., iii. 3 ; II. Henry 
IV., i. 2. 



INDEX TO SHAKSPERE'S WORKS. 193 

Lapland, sorcerers of, Comedy of Errors, iv. 3. That country- 
was thought to be a favourite home of witches. 

Lapwing, the, Measure for Measure, i. 5 ; Comedy of Errors, 
iv. 2. Alluding to the habit of the bird of crying far away from her 
nest to divert pursuers, and used figuratively in reference to those 
who pretend interest in some certain place in order to divert atten- 
tion from their real object. In Hamlet, v. 2, is an allusion to the 
notion that the young bird runs out of the shell in such haste that 
it carries part of it on its head ; runs close by the ground, Much Ado 
about Nothing, Hi. 1. 

Lard, to, the lean earth, I. Henry IV., ii. 2. 

Lark, the, dared like, see Fowling ; changed eyes with the toad, 
Romeo and Juliet, Hi. 5 ; the ploughman's clock, Love's Labour's 
Lost, v. 2, song ; the shrill-gorged, King Lear, iv. 6 ; at heaven's 
gate, Cymbeline, ii. 3; Venus and Adonis, I. 853; Sonnet xxix. ; 
Passionate Pilgrim, xv ; when not attended, Merchant of Venice, v. 
1 ; its song, Romeo and Juliet, in. 5. 

Larron (thief), Merry Wives of Windsor, i. 4. 

Lartius, Titus, character in Coriolanus, first appears in i. 1. 
He is one of the generals, an old man, who will "lean upon one 
crutch and fight with t'other." 

Latch (catch), Macbeth, iv. 3. 

Late, too, Measure for Measure, ii. 2 ; AIVs Well that Ends 
Well, v. 3 ; Much Ado about Nothing, v. 1; A Winter's Tale, Hi. 2. 

Late hours, Twelfth Night, i. 3 ; I. Henry IV. ii. 4. 

Lath, a dagger of, I. Henry IV., ii. 4; Titus Andronicus, ii. 1. 

Latin, no, Henry VIII, Hi. 1 ; in conversation, Love's Labour's 
Lost, iv. 2; v. 1,2; II. Henry VI, iv. 2; lessons in, Merry Wives 
of Windsor, iv. 1 ; Taming of the Shrew, Hi. 1. 

Latten (a kind of pewter). Merry Wives of Witidsor, i. 1. 

Laughter, connected with the spleen, Love's Labour's Lost, v. 
2 ; that idiot, King John, Hi. 3 ; of those that win, Othello, iv. 1 ; ex- 
cessive, Love's Labours Lost, v. 2; Midsummer-Night's Bream, v. 
1 ; II. Henry 1 V. v. 1 ; Cymbeline, i. 7 ; fortune laughed away, An- 
tony and Cleopatra, ii. 6. 

Launce, servant of Proteus in the Two Gentlemen of Verona, 
a great punster, first appears in ii. 3; addresses his dog Crab, ii. 3; 
iv. 4. 

Launcelot Gobbo, the clown, Shylock's servant in the Merchant 
of Venice, introduced in ii. 2. See Jessica. 

Laura, Petrarch's, Rameo and Juliet, ii. 4. 



194 INDEX TO SHAKSPERE'S WORKS. 

Laurence, a Franciscan friar in Romeo and Juliet, introduced 
in ii. 3. He marries the lovers, it. 6, and gives Juliet the potion, 
iv. 1. 

" The reverend character of the friar, like all Shakspere's repre- 
sentations of the great professions, is very delightful and tranquil- 
lizing, yet it is no digression, but immediately necessary to the carry- 
ing on of the plot.'' — Coleridge. 

Laus Deo, bone intelligo (Praise to God, I understand well), 
Lore's Labour's Lost, v. 1. 

Lavinia, character in Titus Andronicus, daughter of Titus, first 
appears in i. 1 or 2. She is claimed by the emperor and his brother 
Bassianus. Titus favours the emperor's claim, but his sons that of 
Bassianus, to whom she was first promised, and she becomes his 
wife ; plot of the Goths against her. ii. 1 ; dishonoured and muti- 
lated, ii. 3-5 ; pitied by Marcus, ii. 4 or 5 ; writes the names of the 
Goths, iv. 1 ; avenged, v. 2 ; killed by her father, v. 3. 

Lavolta, an Italian dance, Henry V., in. 5 ; Troilus and Cres- 
sida, iv. 4. 

Law(s), revival of old, Measure for Measure, i. 3-5 ; unenforced, 
Measure for Measure, ii. 1, 2 ; not dead but sleeping, Measure for 
Measure, ii. 2 ; bitten by the enforcer, Measure for Measure, Hi. 1 ; 
a wise fellow that knows the, Much Ado about Nothing, iv. 2 ; 
tainted and corrupt pleas in, Merchant of Venice, Hi. 2 ; as adver- 
saries do in, Taming of the Shrew, i. 2 ; on the windy side of the, 
Twelfth Night, Hi. 4 ; reliability of witnesses in, A Winter's Tale, iv. 
3 ; when it can do no right, King John, Hi. 1; called old father 
antic, I. Henry I V., i. 2 ; framed to the will — sharp quillets of the, 
I. Henry VI., ii. 4 ; as administered by the tribunes, Coriolanus, ii. 
1 ; pity is the virtue of the, Timon of Athens, Hi. 5 ; in hot blood, 
hath stept into the, Timon of Athens, Hi. 5 ; one who goes to, called 
an action-taking knave. King Lear, ii. 2 ; the bloody book of the, 
Othello, i. 3 ; the brain may devise laws for the blood, Merchant of 
Venice, i. 2 ; no power to alter those of Venice, Merchant of Venice, 
iv. 1 ; a poor man's right in the, Pericles, ii. 1 ; broken by those 
that enforce them, Lear iv. 6, " The usurer hangs the cozener." 

Law, allusions to, and terms of the : cheater (escheater), Merry 
Wives of Windsor, i. 3 ; lost my edifice by mistaking the place, 
Merry Wives of Windsor, ii. 2 ; a star-chamber matter, Merry Wives 
of Windsor, i. 1 ; fee simple — fine and recovery, Merry Wives of 
Windsor, iv. 2 ; Comedy of Errors, ii. 2 ; arrested in the case, Com- 
edy of Errors, iv. 2 ; wards of the king, given by him in marriage, 



INDEX TO SHAKSPERE'S WORKS. 195 

Comedy of Errors, v. 1 ; AWs Well that Ends Well, i. 1; recorded 
for a precedent — formerly (above), Merchant of Venice, iv. 1 ; charge 
upon interrogatories — answer faithfully, Merchant of Venice, v., end ; 
taken with the manner, Love's Labour's Lost, i. 1 ; I. Henry IV., ii. 
4; make an extent (attachment), As You Like It, Hi. 1; videlicet, 
As You Like It, iv. 1; present her at the Leet, Taming of the 
Shrew, induction, 2 ; specialties — covenants, Taming of the Shrew, 
ii. 1; pass assurance, Taming of the Shrew, iv. 3; fee-simple — en- 
tail — perpetual succession, AWs Well that Ends Well, iv. 3 ; except 
before excepted, Twelfth Night, i. 3; common — several, Twelfth 
Night, ii. 1; grand-jurymen, Twelfth Night, Hi. 2; an action of 
battery, Twelfth Night, iv. 1; fees of acquitted prisoners to the 
jailer, A Winter's Tale, i. 2 ; III. Henry VI., iv. 6 ; indictment, A 
Winter's Tale, Hi. 2 ; II. Henry VI, iv. 7 ; hand-fast (out on bail), 
A Winter's Tale, iv. 3 ; to sue out livery, Richard II.. ii. 1, 3 ; I. 
Henry IV., iv. 3 ; enfeoffed (disposed of absolutely), I. Henry IV., 
Hi. 2 ; advised by my counsel — to lay by the heels (send to prison), 
II. Henry IV., i. 2 ; Henry VIII., v. 3 ; absque hoc, II. Henry IV., 
v. 5; attainder, I. Henry VI, ii. 4,' writ of praemunire, Henry 
VI II., Hi. 2 ; in fee-farm — in witness whereof, Troilus and Cressida, 
Hi. 2 ; amerce, Romeo and Juliet, Hi. 1 ; utter (to pass or sell at 
retail), Romeo and Juliet, v. 1 ; aff eered (confirmed), Macbeth, iv. 3 ; 
countenance, Hamlet, iv. 2 ; the clown's argument, and Hamlet's 
speech on the skull, Hamlet, v. 1 ; capable (of inheriting), King Lear, 
ii. 1 ; comforting, King Lear, Hi. 5 ; witness suborned, Othello, Hi. 
4 ; purchased (obtained otherwise than by inheriting), Antony and 
Cleopatra, i. 4 i pray in aid (asking help from another person inter- 
ested in the claim), Antony and Cleopatra, v. 2 ; oversee this will, 
Lucrece, I. 1205 ; overseers as well as executors were sometimes ap- 
pointed ; sessions — summon, Sonnet xxx. ; defendant, Sonnet xlvi. ; 
determinate (ended), Sonnet Ixxxvii. 

Lawn as white as driven snow, song, A Whiter s Tale, iv. 4. 

Lawyer(s), the melancholy of the, As You Like It, iv. 1 ; let's 
kill all the, II. Henry VI., iv. 2 ; crack the voice of the, Timon of 
Athens, iv. 3 ; dreams of, Romeo and Juliet, i. 4 ; skull of a, Hamlet, 
v. 1 ; an unfeed, King Lear, i. 4. 

Lay by, /. Henry IV., i. 2. Supposed to be the highwayman's 
summons, equivalent to " Stand and deliver." 

Lay on, Macduff, Macbeth, v. 7. 

Lazarus, in the painted cloth (tapestry), I. Henry IV., iv. 2. 

Lead, slow, Love's Labour's Lost, Hi. 1 ; prayer to have it kept 



196 INDEX TO SHAKSPERE'S WORKS. 

out, /. Henry IV, v. 3 ; heavy, II. Henry IV., i. 1 ; Richard III., 
v. 3 ; Coriolanus, i. 1 ; Romeo and Juliet, i. 1. 

Leaf, the sear, the yellow, Macbeth, v. 3. 

Leaguer (camp), AWs Well that Ends Well, Hi. 6. 

Leah, Shylock's wife, Merchant of Venice, Hi. 1. 

Leander, Two Gentlemen of Verona, i. 1 ; Hi. 1 ; As You Like 
It, iv. 1 ; Much Ado about Nothing, v. 2. He was drowned swim- 
ming the Hellespont to Hero's tower at Sestos. When she became 
aware of it, Hero cast herself from her tower, and perished in the 
sea. The celebrated poem on the subject, written by Muszeus, a 
Greek author of the sixth century, was discovered in the thirteenth. 

Leanness, of Pinch, Comedy of Errors, v. 1, " My liege, I am 
advised," etc. ; of Robert Faulconbridge, King John, i. 1 ; Falstaff ' s, 
I. Henry IV., Hi. 3 ; dangerous — of Cassius, Julius Cmsar, i. 2. 

Leap-frog, allusion to the game of, Henry V., v. 2. 

Lear, King of Britain, according to Geoffrey of Monmouth, about 
800 years before Christ. In King Lear, i. 1, he divides his kingdom 
according to the professions of love to him made by his daughters. 
Of his character, as revealed in this scene, Coleridge says : 

" The strange, yet by no means unnatural, mixture of selfishness, 
sensibility, and habit of feeling derived from and fostered by the 
particular rank and usages of the individual ; the intense desire of 
being intensely beloved — selfish, and yet characteristic of the selfish- 
ness of a loving and kindly nature alone ; the self-supportless lean- 
ing for all pleasure on another's breast ; the craving after sympathy 
with a prodigal disinterestedness, frustrated by its own ostentation 
and the mode and nature of its claims ; the anxiety, the distrust, 
the jealousy which more or less accompany all selfish affections, and 
are among the surest contradistinctions of mere fondness from true 
love, and which originate Lear's eager wish to enjoy his daughters' 
violent professions, while the inveterate habits of sovereignty con- 
vert the wish into claim and positive right, and an incompliance 
with it into crime and treason — these facts, these passions, these moral 
verities, on which the whole tragedy is founded, are all prepared for, 
and will to the retrospect be found implied in the first four or five 
lines in the play. They let us know that the trial is but a trick ; and 
that the grossness of the old king's rage is in part the natural result 
of a silly trick suddenly and most unexpectedly baffled and disap- 
pointed." 

Lear disowns Cordelia, i. 1 ; is criticised by the other daughters 
at the end of the same scene ; leaves Goneril's house in a passion, i. 
4 ; leaves Regan's, ii. 4 ; on the heath, Hi. 2, 4, 6 ; his madness, iv. 
6 ; v.3 ; his death, v. 3. 

Learning, in a woman's eye, Love's Labour's Lost, iv. 3 ; plod- 



INDEX TO SHAKSPERE'S WORKS. 197 

ding for, Love's Labour's Lost, i. 1 ; iv. 3 ; late deceased in beggary, 
Midsummer-Night's Dream, v. 1. Supposed to refer to the death of 
the dramatist Robert Greene in poverty in 1592 ; though Dowden 
thinks it more likely to refer to Spenser's " The Tears of the Muses ; " 
what a thing it is, Taming of the Shrew, i. 2 ; under ban, II. Hen- 
ry VI, iv. 2 ; in comparison with blood, Henry VIII, i. 1, "A beg- 
gar's book," etc. ; what, is, Romeo and Juliet, Hi. 3 ; a mere hoard 
of gold till sack sets it in use, 11. Henry 1 V., iv. 3 ; of the king, 
Henry V., i. 1 ; little will die the day thou art hanged, Timon of 
Athens, ii. 2. 

Leasing (lying), Twelfth Night, i. 5 ; Coriolanus, v. 2. 

Leather-coats (russet apples), II. Henry IV., v. 3. 

Leave-taking, Hamlet, i. 3; "nothing I would so willingly 
part withal," Hamlet, ii. 2 ; the last, Richard II, v. 1 ; of youth, 
III. Henry VI, Hi. 2. See Parting. 

Le Beau, a courtier attending the usurping duke in As You Like 
It, introduced in i. 2. 

Le Bon, Monsieur, one of the suitors of Portia mentioned in the 
Merchant of Venice, i. 2. 

Leda, Merry Wives of Windsor, v. 5 ; the daughter of (Helen), 
Taming of the Shrew, i. 2. 

Leek, wearing the, Henry V., iv. 1, 7 ; v. 1. A leek is worn by 
Welshmen on St. David's Day, March 1, because, it is said, St. David 
ordered his soldiers to wear it in battle to distinguish them from 
their enemies. 

Leer (face, look), As You Like It, iv. 1. 

Leet (a petty criminal court), Taming of the Shrew, induction, 
1 ; Othello, Hi. 3. 

Leg (cant for obeisance), make a, All's Well that Ends Well, ii. 
2; I. Henry IV., ii. 4. 

Legion, possessed him, Twelfth Night, Hi. 4. Meaning the 
legion of devils. 

Legitimacy, King John, i. 1 ; ii. 1 ; King Lear, i. 2. 

Leicester, Henry VIII, iv. 2. 

Leicester, Earl of. See Maidenhood. 

Lendings (clothes), King Lear, Hi. 4. 

Lenity, in war, Henry V., Hi. 6 ; makes robbers bold, 111. Hen- 
ry VI, ii. 2,6 ; away to heaven, respective, Romeo and Juliet, Hi. 1. 

Lenox, a thane of Scotland, and character in Macbeth, intro- 
duced in i. 2. In Hi. 6, he expresses his suspicions of Macbeth. He 
is keen, but dissembling and cowardly. 



198 INDEX TO SHAKSPERE'S WORKS, 

Lent, a joint of mutton or two in a whole, II. Henry IV., ii. 4; 
shall be as long again, II. Henry VI, iv. 3. Butchers were forbid- 
den to sell meat in Lent ; but some few were excepted from the gen- 
eral rule by special favour, and it is this license that is referred to. A 
hare for a pie in, Romeo and Juliet, ii. 4- 

Lenten answer (dry or short answer), Twelfth Night, i. 5. 

Lenten entertainment, Hamlet, ii. 2. 

Leonardo, the servant of Bassanio in the Merchant of Venice, 
appears in ii. 2. 

Leonato, governor of Messina, father of Hero in Much Ado 
about Nothing, is introduced in the first scene. He is merry, light- 
hearted, and indulgent, but weakly credulous of the slander against 
his daughter. 

Leonine, servant of Dionyza in Pericles, first appears in iv. 1, as 
the intended murderer of Marina. 

Leontes, King of Sicilia, character in A Winter's Tale, intro- 
duced in the second scene. His jealousy is the prime cause of the 
action throughout the plot. Both Coleridge and Gervinus have, in 
somewhat different ways, drawn contrasts between his jealousy and 
that of the nobler Othello. His disposition is passionate, obstinate, 
and tyrannical, his imagination gross, and his judgment weak. 

Leopards, lions make, tame, Richard II, i. 1. The crest of 
Norfolk was a golden leopard. 

Lepidus, M. -ZEmilius, one of the triumvirs after Caesar's death, 
character in Julius Caisar, introduced in Hi. 1 ; Antony's opinion 
of, iv. 1. Also a character in Antony and Cleopatra, introduced in 
i. 4. Enobarbus travesties his praise of Caesar and Antony. In Hi. 
5, he is seized by Caesar's order. 

Lestrale, mentioned, Henry V., Hi. 5 ; iv. 8. 

Let (stay, stop), Comedy of Errors, ii. 1, and elsewhere. 

Lethe, Richard III, iv. 4 ; Julius Caisar, Hi. 1 ; Antony and 
Cleopatra, ii. 7 ; Hamlet, i. 5 ; Twelfth Night, iv. 1; II Henry IV., 
v. 2. In mythology, a river of the lower world. The shades of the 
dead drank of it and forgot the sorrows of life. 

Let me confess that we two must be twain, Sonnet xxxvi. 

Let me not to the marriage of true minds, Sonnet cxvi. 

Let not my love be called idolatry, Sonnet cv. 

Letter, affect the (use alliteration), Love's Labour's Lost, iv. 2. 

Letter(s), of love, see Love-Letters ; allusions to the custom of 
addressing letters to .** the bosom " of a lady, Two Gentlemen of Ve- 
rona, Hi. 1; Hamlet, ii. 2; Armado's, Love's Labour's Lost, i. 1; 



INDEX TO SHAKSPERE'S WORKS. 199 

old ends of, Much Ado about Nothing, i. 1 ; unpleasant, Merchant 
of Venice, Hi. 2 ; allusion to the custom of writing Emmanuel at 
the head of, II Henry VI, iv. 2 ; appetite after reading, Henry 
VIII, Hi. 2 ; forged, King Lear, i. 2 ; of Goneril, King Lear, iv. 
6 ; a, Lucrece, I. 1296 ; destroyed, Lover's Complaint, I. 43 ; patents, 
Richard II, ii. 1 ; effect of a, Henry V, ii. 2. 

Let those who are in favor with their stars, Sonnet xxv. 

Leviathan, Midsummer- Night's Dream, ii. 2 ; Henry V., Hi. 3. 

Liar(s), believe themselves at length, The Tempest, i. 2, " Like 
one who having unto truth," etc. ; an accomplished, Love's Labour's 
Lost, i. 1 ; an infinite and endless, AIVs Well that Ends Well, Hi. 6 ; 
God and good men hate, Richard II, i. 1 ; one that lies three-thirds, 
AIVs Well that Ends Well, ii. 5 ; one that would make you think 
truth a fool, AIVs Well that Ends Well, iv. 3 ; old men apt to be, 
II Henry IV., Hi. 4; go to hell, Othello, v. 2. 

Liberality, in offers, Merchant of Venice, iv. 1 ; prodigal, Timon 
of Athens, i. 1, 2 ; ii. 1, 2. 

Liberty, headstrong, Comedy of Errors, ii. 1 ; too much, Meas- 
ure for Measure, i. 3, 4; of fools, As You Dike It, ii. 7 ; enough, 
King John, iv. 1; blessing of, Cymbeline, i. 7 ; fighting for, II. 
Henry VI, iv. 2. 

Library, Titus And., iv. 1 ; Prospero's, The Tempest, i. 2 ; Hi. 2. 

Lichas, Merchant of Venice, ii. 1 ; Antony and Cleopatra, iv. 
10 or 12. The attendant that brought the poisoned shirt to Her- 
cules from Dejanira. 

Licio, name assumed by Hortensio in Taming of the Shrew, ii. 1. 

Liefest (dearest), II. Henry VI, Hi. 1. 

Lieger (citizen), an everlasting, Measure for Measure, Hi. 1. 

Lie(s), repeated, The Tempest, i. 2 ; invention of, AIVs Well that 
Ends Well, iv. 1 ; charges of, Richard II, i. 1 ; iv. 1 ; Falstaff 's an- 
ticipated, I Henry IV., i. 2 ; gross, I. Henry IV., ii. 4 > f° r a friend, 
Curiolanus, v. 2 ; an odious, damned, Othello, v. 2 ; by the poor, Cym- 
beline, Hi. 6 ; of lovers, Sonnet cxxxviii. ; only become tradesmen, A 
Winter's Tale, iv. 3 ; women should not tell, Antony arid Cleopatra, 
v. 2 ; every third word a, II. Henry IV., Hi. 2 ; circumstantial, 
direct, etc., see Duelling. 

Lieutenant, to Aufidius, character in Coriolanus, iv. 7. 

Lieutenant of the Tower, 111. Henry VI, iv. 6. Supposed 
to have been John Tibetoft, first Earl of Worcester. 

Lieutenantry, dealt on, Antony and Cleopatra, Hi. 9 or 11. 
Allowed his lieutenants to do the fighting. 
18 



INDEX TO SHAKSPERE'S WORKS. 

Life, rounded with a sleep, The Tempest, iv. 1; a shuttle, Merry 
Wives of Wifidsor, v. 1 ; brevity and worthlessness of, Measure for 
Measure, Hi. 1 ; death's fool, Measure for Measure, Hi. 1 ; allusion 
to death and his fool in an old play; any, better than death— com- 
pared with honour, Measure for Measure, Hi. 1 ; past fear of death, 
Measure for Measure, v. 1 ; the idea of a, in imagination, Much Ado 
about Nothing, iv. 1 ; taken when the means are taken, Merchant of 
Venice, iv. 1 ; brevity of. As You Like It, ii. 7 ; Hi. 2, song ; web 
of a mingled yarn, AWs Well that Ends Well, iv. 3 ; to come, A Win- 
ter's Tale, iv. 3 ; a twice-told tale, King John, Hi. 4 ; the bloody 
house of, King John, iv. 2 ; not to be lengthened, Richard II., i. 3 ; 
shortness of, I. Henry IV., v. 2, Hotspur's speech ; better than hon- 
our, I. Henry 1 V., v. 3 ; less than honour, I. Henry IV., v. 4; time's 
fool, I. Henry IV., v. 4; thought the slave of, i". Henry IV, v. 4; 
set upon a cast, Richard III, v. 4 ; its wine drawn, Macbeth, ii. 3 ; 
its fitful fever, Macbeth, Hi. 2 ; its brevity — a tale told by an idiot — 
a poor player, Macbeth, v. 5 ; a charmed, Macbeth, v. 7 ; cheapness 
of man's, King Lear, ii. 4 ; yields to age, King Lear, iv. 1 ; treasury 
of, King Lear, iv. 6 ; why should a dog have, King Lear, v. 3 ; the 
light of, Othello, v. 2 ; nobleness of, Antony and Cleopatra, i. 1; 
bears the stamp of the gods, Cymbeline, v. 4 ; shortness of, Sonnet 
Ix. ; autumn and twilight of, Sonnet Ixxiii; ; man's, is tedious, Cym- 
beline, Hi. 6 ; love of long, Antony and Cleopatra, i. 2 ; brevity of 
its greatness, Henry VIII., prologue ; when it is a torment, Othello 
i. 3 ; its glory like madness, Timon of Athens, i. 2. 

Ligarius, a conspirator in Julius Cozsar, first appears in ii. 1. 

Light, sought in books, Love's Labour's Lost, i. 1. See Study. 

Lightly (usually), Richard III, Hi. 1. 

Lightning, its swiftness, Midsummer-Night's Dream, i. 1 ; 
Richard II, i. 3 ; King Lear, iv. 7 ; Romeo and Juliet, ii.2 ; before 
death, a, Romeo and Juliet, v. 3. 

Light 6* Love, a dance-tune, Two Gentlemen of Verona, i. 2; 
Much Ado about Nothing, lii. 4> 

Like as the waves, Sonnet Ix. 

Like as, to make our appetites more keen, Sonnet cxviii. 

Lilly (or Lyly), John (about 1553-1600), quotations and allusions 
to his Latin Grammar, Twelfth Night, ii. 3. 

Lily (ies), A Winter's Tale, iv. 3 or 4 ; Sonnet xcix. ; festering, 
Sonnet xciv. ; to paint the, King John, iv. 2 ; perish like the, Henry 
VIIL, Hi. 1. 

Limander (Leandei ?), Midsummer- Night's Dream, v. 1. 



INDEX TO SHAKSPERE'S WORKS. 201 

Limbo Patrum, place where the souls of the patriarchs re- 
mained till the descent of Christ, Henry VIII., v. 4. 

Limbo, Tartar, Comedy of Errors, iv. 2. 

Lime, in sack (to make it sparkle), Merry Wives of Windsor, i. 
3 ; I. Henry IV., ii. 4. 

Limed (caught as with bird-lime), Twelfth Night, Hi. 4. 

Limehouse, limbs of (in some editions Limbo), Henry VIII., v. 
4. Limehouse was near Tower Hill, and the tribulation of Tower 
Hill and the limbs of Limehouse may refer to the roughs that in- 
fested the neighborhood. 

Limits, everything has, Comedy of Errors, ii. 1. 

Lincoln, John Langland, Bishop of, character in Henry VIII., 
introduced in ii. 4. He is said to have made the first suggestion of 
the divorce. There is a chapel in Lincoln Cathedral planned by him, 
and named for him, Langland Chapel. 

Line, the equinoctial, The Tempest, iv. 1. Quibbling allusion 
to the supposed fact that the heat there caused loss of hair. 

Line (strengthen), I. Henry IV., ii. 3. 

Lineage, evidence of good, Cymbeline, iv. 2, " thou goddess," 
etc. ; I. Henry IV., i. 2. See Blood and Rank. 

Linen, Poins's, II. Henry IV., ii. 2. 

Linguist, a. Sir Andrew, Twelfth Night, i. 3 ; iv. 1 ; AWs Well 
that Ends Well, iv. 3. 

Link (torch), hats blackened with a, Taming of the Shrew, iv. 1. 

Lion(s), royal disposition of the, As Yon Like It, iv. 3 ; in Ar- 
den, As You Like It, iv. 3 ; better to fall before the, than the wolf, 
Twelfth Night, Hi. 1 ; the dying, Richard 11., v. 1 ; will not touch 
a true prince. I. Henry IV., ii. 4 » the man that sold the skin of a, 
Henry V., iv. 3 ; allusions to the story that Richard I. tore out the 
heart of one sent to devour him, King John, i. 1 ; ii. 1. 

Lion, a character in the interlude in Midsummer-Night's Dream, 
v. 1, taken by Snug the joiner. 

Lion-skin, doff the, King John, Hi. 1. 

Lips, pretty, Midsummer-Night 's Dream, Hi. 2; Measure for 
Measure, iv. 1 ; Richard III, iv. 3 ; coward, Julius Co&sar, i. 2. 

Lipsbury Pinfold, King Lear, ii. 2. Of unknown meaning. 

Liquors, hot and rebellious, As You Like It, ii. 3. See Drunk- 
enness. 

List (limit, edge of cloth), Measure for Measure, i. 1, 2 ; Twelfth 
Night, Hi. 1 ; Hamlet, iv. 5 or 2. 

Liver, the, seat of love, Merry Wives of Windsor, ii. 1 ; Much 



202 INDEX TO SHAKSPERE'S WORKS. 

Ado about Nothing, iv. 1 ; Twelfth Night, i. 1 : ii. 4 ,' Love's La- 
hour's Lost, iv. 3 ; As You Like It, Hi. 2 ; white, Merchant of Ven- 
ice, Hi. 2 ; Twelfth Night, Hi. 2. 

Livery, sue his, I. Henry IV., iv. 3 ; Richard II., ii. 1, 3. Sue 
delivery of his lands, as an heir who was of age sued for custody of 
his own property. 

Living, Falstaff s plan to get a, Merry Wives of Windsor, i. 3. 

Lizard, sting of the, II. Henry VI., Hi. 2 ; III. Henry VI., ii. 
2; leg of, Macbeth, iv. 1. 

Loan(s), to an enemy — without interest, Merchant of Venice, i. 
3 ; a, oft loses both itself and friend, Hamlet, i. 3. 

Lo ! as a careful housewife, Sonnet cxliii. 

Lo ! in the orient, Sonnet vii. 

Lob (lubber), Midsummer-Night 's Dream, ii. 1, 

Lock (love-lock), Much Ado about Nothing, Hi. 3 ; v. 1. 

Lodovico, a kinsman of Othello's father-in-law, introduced in 
iv. 1 of the play. 

Lodowick, Friar, name assumed by the duke in Measure for 
Measure, v. 1. 

Loggats, Hamlet, v. 1. A game played with loggats or pieces 
of wood, which are thrown at a jack. It is somewhat like bowls or 
skittles. 

Logic, of the schools, travesty on, Twelfth Night, iv. 2, " What 
is that but that?" 

Lombardy, garden of Italy, Taming of the Shrew, i. 1. 

London, scene of parts of the historical plays. See Lud's 
Town. 

London Bridge, order for the burning of, II. Henry VI., iv. 6. 
In Shakspere's day there was but the one bridge over the Thames at 
London. 

London-stone, II. Henry VI., iv. 6. A stone supposed to have 
been set up in the time of the Romans, and now built into the wall 
of St. Swithin's Church. Distances were measured from it. 

Longaville, one of the lords attending on the king in Love's 
Labour's Lost, introduced in the first scene. 

" The only soil of his fair virtue's gloss. 
If virtue's gloss will stain with any soil, 
Is a sharp wit matched with too blunt a will." 

Longing, immortal, Antony and Cleopatra, v. 2. 

Looker-on in Vienna, a, Measure for Measure, v. 1. 

Looking-glass, a, Richard II., iv. 1 ; to court an amorous, 



INDEX TO SHAKSPERE'S WORKS. 203 

Richard III., i. 1 ; at charges for a, Richard III, i. 2 ; to test life, 
King Lear, v. 3. 

Look in thy glass, Sonnet Hi. 

Looks, a war of, Venus and Adonis, I. 355 ; foreboding, III. 
Henry VI, ii. 1. 

Lop (branches), Henry VIII, i. 2. 

Lord, a, a character in the Taming of the Shrew. The trick 
he played upon Sly is said to have been played upon an artisan by 
Philip the Good, Duke of Burgundy. An account of it is in " Ad- 
mirable and Memorable Histories," by Goulart, translated by B. 
Grimstone, 1607, though it had appeared in English in 1570 in a 
collection of stories by Richard Edwards. It was also in the old play. 

Lord Chief-Justice Gascoigne. See Gascoigne. 

Lord have mercy upon us, Love's Labour's Lost, v. 2. An 
inscription on houses infected with the plagne. 

Lord, how mine eyes, Passionate Pilgrim, xv. 

Lord Mayor of London, the, a character in III. Henry VI. 

Lord of my love, Sonnet xxvi. 

Lord's Prayer, the, Merchant of Venice, iv. 1, " And that same 
prayer," etc. 

Lord's sake, for the, Measure for Measure, iv. 3, an allusion to 
the practice of prisoners for debt begging from the window of pass- 
ers-by, " For the Lord's sake." 

Lorenzo, the lover of Jessica, in the Merchant of Venice, enters 
in the first scene, a thoughtless, boyish, romantic personage. 

Loss, racks the estimation of value, Much Ado about Nothing, 
iv. 1 ; make comfort of, AWs Well that Ends Well, iv. 3 ; apprecia- 
tion after, All's Well that Ends Well, v. 3 ; how men should bear, 
Julius Caisar, iv. 3 ; at sea, Merchant of Venice, iv. 1. 

Lottery, of the caskets, Merchant of Venice, i. 2 ; ii. 1. 

Louis, the Dauphin, afterward Louis VIII. of France, a charac- 
ter in King John, introduced in ii. 1. 

Louis, the Dauphin of France, character in Henry V, first ap- 
pears in ii. 4. He is a rash and confident young braggart. In i. 2, 
he sends tennis-balls to Henry to intimate that Henry is more fit for 
that game than for war. 

Louis X. of France, his title, Henry V., i. 2. 

Louis XI. of France, character in III. Henry VI, introduced 
in Hi. 3 : Henry's opinion of his susceptibility, Hi. 1. 

Louted (treated as a lout, mocked), /. Henry VI, iv. 3. 
. Louvre, your Paris, Henry V., ii. 4 ; Henry VIII, i. 3. 



204 INDEX TO SHAKSPERE'S WORKS. 

Love, The Tempest, i. 2 ; Hi. 1 ; trials of, The Tempest, iv. 1 ; folly 
of, Two Gentlemen of Verona, i. 1 ; marks of, Two Gentlemen of Vero- 
na, i. 2 ; ii. 1 ; take up, Two Gentlemen of Verona, i. 2 ; like April, 
Two Gentlemen of Verona, i. 3 ; the chameleon, Two Gentlemen of 
Verona, ii. 1 ; transformation by. Two Gentlemen of Verona, ii. 4 ; 
fickleness in, Two Gentlemen of Verona, ii. 4i 6; Midsummer- 
Night's Dream, i. 1; iv. 4 ; Troilusand Cressida, v. 2 ; Romeo and 
Juliet, ii. 3 ; perjury in. Two Gentlemen of Verona, ii. 6 ; v. 4; 
against obstacles, Two Gentlemen of Verona, ii. 7 ; treachery in, 
Two Gentlemen of Verona, Hi. 1; the way to win, Two Gentlemen 
of Verona, Hi. 1, 2 ; effect of absence on, Two Gentlemen of Verona, 
Hi. 2 ; spurned, Two Gentlemen of Verona, iv. 2 ; the curse in, Two 
Gentlemen of Verona, v. 4; Reason physician of , Merry Wives of 
Windsor, ii. 1 ; like a shadow flies, Merry Wives of Windsor, ii. 2 ; 
of another man's wife, Merry Wives of Windsor, ii. 2 ; omnipotent, 
Merry Wives of Windsor, v. 5 ; the dribbling dart of, Measure for 
Measure, i. 4; temptation to, Measure for Measure, ii. 2, end; effect 
of, on gravity, Measure for Measure, ii. 4 ; increased by unkind- 
ness, Measure for Measure, Hi. 1, " This forenamed maid," etc. ; 
jests on, Much Ado about Nothing, i. 1 ; declared by proxy, Much 
Ado about Nothing, ii. 1 ; follies of, Much Ado about Nothing, ii, 
3 ; signs of, Much Ado about Nothing, iii.2; protestations of, Much 
Ado about Nothing, iv. 1 ; Midsummer- NighVs Dream, i. 2 ; Hi. 2; 
Romeo and Juliet, ii. 6 ; Hi. 2 ; A Winter's Tale, i. 2 ; iv. 3 or 4 / 
Henry V., v. 2 ; II. Henry VI, Hi. 2 ; Troilus and Cressida, Hi. 2 ; 
iv. 2, end ; iv. 4 ; King Lear, i. 1 ; Cymbeline, i. 1, 3 ; the great in, 
Love's Labour's Lost, i. 2 ; and rhyme, Love's Labour's Lost, i. 2, 
end ; symptoms of, Love's Labour's Lost, ii. 1 ; how to act in, Love's 
Labour's Lost, Hi. 1; falling in, Love's Labour's Lost, Hi. 1, end ; 
iv. 3 ; effect of, on the faculties, Love's Labour's Lost, iv. 3 ; fore- 
runners of, Love's Labour's Lost, iv. 3. near end ; disguised — the 
wise in — declaration of — trial of, Love's Labour's Lost. v. 2 ; art of, 
Midsummer- Night's Dream, i. 1, " Call you me fair," etc. ; course of 
true, Midsummer- Night's Dream, i. 1; spaniel-like, Midsummer- 
Night's Dream, ii. 1 ; flower producing, Midsummer-Night's Dream, 
ii. 1, 2 ; and reason, Midsummer-Night's Dream, Hi. 1 ; blind, Mer- 
chant of Venice, ii. 6 ; Midsummer-Night's Dream., i. 1 ; Romeo and 
Juliet, ii. 1 ; confessed, Merchant of Venice, Hi. 2 ; diffidence of 
As You Like It, i. 2 ; at first sight. As You Like It, i. 2, 3 ; Hi. 5 ; 
absurdities of, As You Like It, ii. 4 ; marks of a man in, ^4.5 You 
Like It, Hi. 4 ; reproof for disdain of, As You Like It, Hi. 5 ; none 



INDEX TO SHAKSPERE'S WORKS. 205 

ever died of, As You Like It, iv. 1 ; what 'tis — sudden, As You Like 
It, v. 2 ; Taming of the Shrew, i. 1; rough, Taming of the Shrew, 
ii. 1 ; lectures on — pleading for another in, Taming of the Shrew, i. 
2 ; despairing, AIVs Well that Ends Well, i. 1, 3 ; of one in higher 
rank — belongs to youth — evidences of, AIVs Well that Ends Well, i. 
3; ambition in, AIVs Well that Ends Well, i. 1; Hi. 4; without, 
AIVs Well that Ends Well, iv. 2; come too late, AIVs Well that 
Ends Well, v. 2; music the food of — like the sea — one sovereign, 
Twelfth Night, i. 1 ; and flowers, Twelfth Night, i. 1, end ; messen- 
ger of, Twelfth Night, i. 4, 5 ; refused, Twelfth Night, i. 5 ; hungry 
— never told, Twelfth Night, ii. 4 ; offered by a lady, Twelfth Night, 
Hi. 1 ; shows itself, Twelfth Night, Hi. 1 ; unsought, Twelfth Night, 
Hi. 1, 4 ; declaration of, Twelfth Night, v. 1; indications of, A Win- 
ter's Tale, i. 2 ; iv. 3 or 4 >' prosperity the bond of, A Winter's Tale, 
iv. 3 ; turns to hate, Richard II., Hi. 2 ; this no world for, I. Hen- 
ry IV., ii. 3 ; worth a million, /. Henry IV., Hi. 3 ; protestations 
of, I. Henry IV., iv. 1 ; sincerity in, Henry V., v. 2 ; sudden, I. Hen- 
ry VI, v. 3 ; to Clarence, Richard III, i. 1 ; suing for, Richard 
III, i. 2; of Troilus, Troilus and Cressida, i. 1; before gained, 
Troilus and Cressida, i. 2, end ; nothing but (song). Troilus and 
Cressida, Hi. 1 ; enchantment of — will is infinite, Troilus and Cres- 
sida, Hi. 2 ; comes with lack. Coriolanus, iv. 1 ; tyrannous and para- 
doxical, Romeo and Juliet, i. 1 ; sprung from hate, Romeo and Juliet, 
i. 5 ; infinite — daring of, Romeo and Juliet, ii. 2 ; in the eyes, Ro- 
meo and Juliet, ii. 3 ; like a natural — slain by, Romeo and Juliet, ii. 
4 ; heralds of, Romeo and Juliet, ii. 5 ; moderate — lightness of, Ro- 
meo and Juliet, ii. 6 ; shadows of, Romeo and Juliet, v. 1 ; cooling, 
Julius Cmsar, iv. 2 ; caution in, Hamlet, i. 3 ; madness in, Hamlet, 
ii. 1, 2 ; inconstant, Hamlet, Hi. 2, player king ; nature is fine (sen- 
sitive) in, Hamlet, iv. J or 2 ; effect of time on, Hamlet, iv. 7 (or 4) ; 
undemonstrative — in misfortune, King Lear, i. 1 ; penalty for giv- 
ing charms for, Othello, i. 2, 3 ; unnatural, Othello, i. 3 ; doting, 
Othello, ii. 3, " And what's he," etc. ; its crown and hearted throne, 
Othello, Hi. 3 ; deceived, Othello, iv. 2 ; finds grace in frowns, Othel- 
lo, iv. 3 ; not wise, Othello, v. 2 ; Antony and Cleopatra, i. 1, 3, 5 ; 
Hi. 9 or 11 ; protestations of, Cymbelint, i. 1, 3 ; impatience of, Cym- 
oeline, Hi. 2 ; reason of, Cymbeline, iv. 2 ; repelled, Venus and 
Adonis, lines 31, 130, 137 ; compact of fire, Venus and Adonis, I. 
149 ; surfeits not, Venus and Adonis, I. 799 ; ridiculous, Venus and 
Adonis, I. 9S5 ; prophecy concerning, Venus and Adonis, I. 1136 ; 
want of, Sonnets viii.-x. ; poetry of, Sonnet xxi. ; hears with eyes, 



206 INDEX TO SHAKSPERE'S WORKS. 

Sonnet xxiii. ; of the dead, Sonnet xxxi. ; self abnegation in, Son- 
nets xxxv.-xxxix., Ixxxviii.-xc, cxlix. ; wrongs of, Sonnets xl., xcii., 
xciii. ; falsehood of, Sonnets xli., xlii. ; the eye and heart in, Son- 
nets xlvi., xlvii. ; coldness in, Sonnet xlix. ; renewed, Sonnet Ivi. ; 
makes a willing slave, Sonnets Ivii., Iviii. ; watchful, Sonnet Ixi. ; 
change in, Sonnets Ixxxvii.-xc. ; the best, Sonnet xci. ; in absence, 
Sonnets xcvii., xcviii. ; show of, Sonnet cii. ; constancy in, Sonnet 
cv. ; prescience of loss in, Sonnet cvii. ; expression of, like prayers, 
Sonnet cviii. ; wanderings of, Sonnet cix. ; alchemy of, Sonnet cxiv. ; 
growth of, Sonnet, cxv. ; that alters, when it alteration finds, Sonnet 
cxvi. ; not time's fool, Sonnet cxvi. ; trial of the constancy of, Sonnet 
cxvii. ; policy in, Sonnet cxviii. ; renewed. Sonnet cxix. ; reconcilia- 
tion in, Sonnet cxx. ; independent of circumstance, Sonnet cxxiv. ; 
of one unworthy, Sonnets cxxvii., cxlii.-cxliv., cl., clii. ; unfaithful- 
ness in, Sonnets cxxxiii., cxxxiv. ; blind fool, Sonnet cxxxvii. ; de- 
ceived, Sonnets cxxxvii., cxxxviii. ; despair in, Sonnet cxl. ; not in 
the senses, Sonnet cxli. ; of two, Sonnet cxliv.; a fever, Sonnet 
cxlvii. ; blind, Sonnet cxlviii.; perjury in, Sonnet clii.; fire of, 
Sonnets cliii., cliv. ; betrayed, Lover's Complaint ; potential, Lover's 
Complaint, I. 264; fickle, Passionate Pilgrim, vii., xvii. ; perfect, 
The Phoenix and the Turtle. 

Love-broker, report of valour the best, Twelfth Night, Hi. 2. 

Love-in-idleness, 31idsummer-Night , s Dream, ii. 1. The pansy. 

Love is my sin and thy dear virtue hate, Sonnet cxlii. 

Love is too young to know what conscience is, Sonnet cli. 

Lovel, Francis, Lord, character in Richard III., first appears in 
Hi. 4> He was one of Richard's chief supporters, fled to France 
after Bosworth, but returned and took the side of Lambert Simnel. 

Love-Letters, Two Gentlemen of Verona, i. 2; ii. 1; Hi. 1; 
Merry Wives of Windsor, ii. 1 ; Love's Labour's Lost, iv. 1, 2 ; v. 2 ; 
As You Like It, iv. 3 ; Twelfth Night, ii. 3, 5 ; Hamlet, ii. 2 ; Cym- 
beline, Hi. 4 > blanks for, Merry Wives of Windsor, ii. 1. 

Lovell, Sir Thomas, character in Henry VIII, introduced in i. 
2. He was a favourite with both Henry VII. and Henry VIII., was 
a devout Catholic, endowed the priory at Halliwell, Shoreditch, and 
built a chapel there, where he was buried. An inscription reads : 
" All ye nunns of Halliwell, 
Pray ye both day and night 
For the soul of Sir Thomas Lovell, 
Whom Harry the Seventh made Knight." 
Sir Thomas. Lovell is mentioned in Richard III., iv. 4. 



INDEX TO SHAKSPERE'S WORKS. 207 

Love-making, Comedy of Errors, Hi. 2 ; iv. 2 ; Merry Wives 
of Windsor, ii. 1, 2 ; Hi. 4 ; Midsummer- Night's Dream, i. 1 ; Hi. 
2 ; Twelfth Night, i. 5 ; v. 1; Richard III., i. 2 ; Antony and Cleo- 
patra, i. 3 ; Cymbeline, ii. 3 ; Troilus and Cressida, Hi. 2; iv. 2; 
v. 2 ; Romeo and Juliet, ii. 1 ; The Tempest, Hi. 1 ; Much Ado about 
Nothing, iv. 1 ; v. 3 ; Taming of the Shrew, Hi. 1; A Winter's Tale, 
iv. Jf. ; Venus and Adonis, lines 1-768. 

Lover(s), mercenary, Measure for Measure, Hi. 1, " She should 
this Angelo have married," etc. ; keen faculties of, Love's Labour's 
Lost, iv. 3 ; trusting a, Love's Labour's Lost, v. 2 ; fantasies of — all 
compact of imagination, Midsummer- Night's Dream, v. 1 ; sighs of, 
As You Like It, ii. 7 ; propositions of a, As You LiTce It, Hi. 2 ; 
given to poetry, As You Like It, Hi. 4; fickle in everything but 
love, Twelfth Night, ii. 4 ; generosity in, A Winter's Tale, iv. 3 or 4 ; 
vows of, Troilus and Cressida, Hi. 2 ; sighs of, Romeo and Juliet, 
i. 1; chaffing a, Romeo and Juliet, ii. 1; ravings of, Romeo and 
Juliet, ii. 2 ; impatience of, Romeo and Juliet, ii. 5 ; exiled, Romeo 
and Juliet, Hi. 3 ; partings of, Romeo and Juliet, Hi. 5 ; Two Gen- 
tlemen of Verona, it. 2; Antony and Cleopatra, i. 3 ; meeting of, 
Othello, ii. 1, " my fair," etc. ; exaggerations of, Antony and Cleo- 
patra, i. 5; tedious, Venus and Adonis, I. 841; gifts of, Loiws 
Complaint, lines 197, 232 ; like misers, Sonnet Ixxv. ; see only the 
beloved, Sonnets cxiii.. cxiv. 

Lover's Complaint, A, a poem first published in 1009, with the 
first edition of the Sonnets. From its style it is judged to have been 
written before the Sonnets and after the other poems. 

Loves, of the poets, Romeo and Juliet, H. 4- 

Love-songs, Hamlet, iv. 5 or 2 ; Troilus and Cressida, 
Hi. 1. 

Love-Sonnets, addressed to a man, i.-cxxvi. ; to a woman, 
cxxvii.-clii. 

Love's Labour's Lost, one of the earliest, if not the very earli- 
est, of the comedies, the date commonly assigned to it being the 
poet's twenty -fifth year. It was first published in 1598 in an edition 
" corrected and augmented." Shakspere's work on Titus Andronicus 
is alone thought to be earlier than this in its original form. No play 
or story is known on which this comedy could have been founded. 
Editors have discovered only a passage in Monstrelet, concerning a 
negotiation between the Kings of Navarre and France, by which 
Navarre gave up the castle of Cherbourg, the county of Evreux, and 
all the other lordships he possessed within the kingdom of France, 



208 INDEX TO SHAKSPERE'S WORKS. 

and received the duchy of Nemours and two hundred thousand gold 
crowns. The scene is Navarre. Coleridge says of the play : 

" The satire is chiefly on follies of words. . . . The frequency of 
the rhymes, the sweetness as well as the smoothness of the metre, 
and the number of acute and fancifully illustrated aphorisms, are 
all as they ought to be in a poet's youth. True genius begins by 
generalizing and condensing ; it ends in realizing and expanding." 

Love's Labour's Won. See All's Well that End's Well. 

Love-verses, Two Gentlemen of Verona, ii. 1; Hi, 1; iv. 2 ; 
Love's Labour's Lost, iv. 2, 3; As You Like It, Hi. 2; Twelfth 
Night, ii. 5 ; directions for writing. Two Gentlemen of Verona, in. 2. 

Lowly, better to be. Henry VIII., ii. 3 ; Cymbeline, i. 6. 

Loyalty, in service, As You Like It, i. 3 ; ii. 3 ; professions of, 
Richard II., i. 3 ; Henry VIII., Hi. 2 ; King John, iv. 2 ; Macbeth, 
i. 4,' difficult, of York, Richard II., ii. 2 ; Kent's, King Lear, i. 4 ; 
pretended, King Lear, Hi. 5 ; to the fallen, Antony and Cleopatra, 
Hi. 11 or 13 ; where shall it find a harbour in the earth ? II. Henry 
VI., v. 1. 

Lozel (good-for-nothing), A Winter's Tale, ii. 3. 

Lubber, the world a great, Twelfth Night, iv. 1. 

Lubber's Head (leopard's), an inn, II. Henry I V., ii. 1. 

Lucentio, the successful suitor of Bianca in the Taming of the 
Shreiv, introduced in i. 1, who goes into her father's family as a 
teacher under the assumed name of Cambio. 

Luce, servant of Adriana in the Comedy of Errors. 

Luces, the dozen white, Merry Wives of Windsor, i. 1. A sup- 
posed allusion to the arms of the Lucy family, in which there were 
three pike, luce being another name for that fish. See Shallow. 

Lucetta, Julia's maid in the Two Gentlemen of Verona, who is 
keen-sighted enough to discover the true character of Proteus, ap- 
pears in i. 2. 

Luciana, sister of the wife of Antipholus of Ephesus in Comedy 
of Errors. She is mild-tempered and gentle, forming a contrast to 
her vixenish sister, and advocating the theory of wifely submission 
to which Katherine is brought in the Taming of the Shrew. 

Lucianus, nephew of the player king, Hamlet, Hi. 2. 

Lucifer, Merry Wives of Windsor, ii. 2, end ; falls like, Henry 
VIII., Hi. 2 ; King John, iv. 3. 

Lucilius, a servant of Timon of Athens, introduced in i. 1. 

Lucilius, a friend of Brutus in Julius Cozsar, appears in iv. 2 ; 
made prisoner, v. 4. 



INDEX TO SHAKSPERE' S WORKS. 209 

Lucio, a fantastic in Measure for Measure, introduced in i. 2, a 
witty but vile and shameless character. 

Lucius, one of the flattering lords in Timon of Athens, intro- 
duced in Hi. 2, where he mentions the presents he has received from 
Timon, and makes an excuse for not lending him money in his need. 

Lucius, servant of Brutus in Julius Caesar, introduced in ii. 1. 

Lucius, character in Titus Andronicus, son of Titus, introduced 
in i. 1 or 2, where he demands the sacrifice of a prisoner to the 
shades of his brothers ; banished, Hi. 1 ; general of the Goths, iv. 4 ; 
v. 1 ; made emperor, v. 3. 

Lucius, Young, a brave child, son of Lucius in Titus Andronicus, 
introduced in Hi. 2. 

Lucius, brother of Antony, mentioned in Antony and Cleopatra, 
i. 2, as in alliance with Fulvia. 

Lucius, Caius, general of the Roman forces in Cymbeline, intro- 
duced in Hi. 1, where he demands payment of the tribute. 

Lucius Pella, condemned for taking bribes, Julius Cozsar, iv. 3. 

Luck, bad, an indication of want of piety, Merry Wives of Wind- 
sor, iv. 5 ; good, in odd numbers, Merry Wives of Windsor, v. 1. See 
Omens. 

Lucrece, a poem published in 1594, dedicated to the Earl of 
Southampton. The story on which it is founded is told by Ovid and 
Livy, and is given in the argument that Shakspere prefixed to the 
poem. Coleridge says : 

" In this poem [' Venus and Adonis '] and ' The Rape of Lucrece ' 
Shakspere gave ample proof of his possession of a most profound, 
energetic, and philosophical mind,- without which he might have 
pleased, but could not have been a great dramatic poet." 

References to Lucrece, As You Like It, Hi. 2, song ; Taming of 
the Shrew, ii. 1 ; Twelfth Night, ii. 5. 

Lucretius, Lucrece, I. 1751. 

Lucullus, one of the flattering lords in Timon of Athens, intro- 
duced in Hi. 1. When Timon sends to him for a loan in this scene, 
he tries to bribe the servant to say to Timon that he had not been 
seen. Timon's servant calls him " Thou disease of a friend." 

Lucy, Lady Elizabeth, Richard III., Hi. 7. 

Lucy, Sir William, character in I. Henry VI, first appears in 
iv. 3, seeking reinforcements for Talbot. 

Lucy, Sir Thomas, supposed allusion to, in Merry Wives of 
Windsor, i. 1. See Luces and Shallow. 

Ludlow Castle, an ancient and celebrated castle in Shropshire, 



210 INDEX TO SHAKSPERE'S WORKS. 

where the young prince (Edward V.) was living with his uncle, Earl 
Rivers, Richard III., ii. 2. In the time of Elizabeth, the castle was 
in possession of the Sidney family. 

Lud's-town (London), Cymbeline, Hi. 1 ; iv. 2. 

Lunatic, the, imagination of, Midsammer-NighV s Dream, v. 1 ; 
speech of, Cymbeline, v. 4. See Insane, Insanity, Madness. 

Lunes (insane freaks), Merry Wives of Windsor, iv. 2 ; A Win- 
ter's Tale, ii. 2 ; Troilus and Cressida, ii. 3 ; Hamlet, Hi. 3. 

Lupercal, feast of, Julius Cmsar, i. 1 ; Hi. 2. In honour of Lu- 
percus, a god of the woods and of shepherds, who was supposed to 
keep away wolves. It fell on February 15th. 

Lurched (robbed), Coriolanus, ii. 2. 

Lust, wicked fire of, Merry Wives of Windsor, ii. 1 ; though to 
an angel linked, Hamlet, i. 5 ; Venus and Adonis, I. 794; /Sonnet 
cxxix. 

Lustick (lustig, merry), AIVs Well that Ends Well, ii. 3. 

Lute, pleasing of a, Richard III., i. 1 ; melancholy as a lover's, 
I. Henry IV., i. 2 ; broken over the teacher, Taming of the Shrew, 
ii. 1 ; music of the, Henry VIII, Hi. 1. 

Lutheran, a spleeny, Henry VIII, Hi. 2. 

Lux tua, etc., Pericles, ii. 2. Thy light is my life. 

Lying, the world given to, I. Henry IV., v. 3 ; as easy as, Ham- 
let, Hi. 2 ; becomes only tradesmen, A Winter's Tale, iv. 3 ; old men 
subject to the vice of, II. Henry 1 V., Hi. 2. 

Lychorida, nurse of Marina, in Pericles, first appears in Hi., 
chorus ; her death, iv. 1. 

Lymoges, Archduke of Austria. See Austria. 

Lycurgeses, Coriolanus, ii. 1. 

Lym, a hunting-dog, King Lear, Hi. 6. 

Lysander, character in Midsummer-NighVs Dream, introduced 
in *'. 1, a lover of Hermia. 

Lysimachus, governor of Mitylene, character in Pericles, first 
appears in iv. 6 ; betrothed to Marina, v. 1 or 2. 

Mab, Queen, Romeo and Juliet, i. 4. 

Macbeth is a drama sometimes placed first among the histories, 
but usually with the tragedies. It was included in the folio of 1623 ; 
the earliest known allusion to it was made in 1610 ; and the date of 
writing is placed between 1604 and 1610. The story is given mainly 
as it appears in Holinshed's " Chronicles." The circumstances of 
the assassination are found in Holinshed's account of the murder of 



INDEX TO SHAKSPERE' S WORKS. 211 

King Duff by Donwald and his wife in their castle at Fores. The 
time of the historical action is from 1039 to 1057; but Shakspere 
has crowded the events together for dramatic effect. Many castles 
are designated as the one in which Macbeth killed Duncan. Glamis 
Castle, five miles from Forfar, is one ; Cawdor Castle, six miles from 
Nairn, is another ; Fores Castle a third, and Macbeth's castle at In- 
verness a fourth. In Macbeth's time there were no castles of stone 
and mortar; timber and sods were the materials used. A castle 
built of these materials stood on an eminence southeast of Inver- 
ness. This was razed by Malcolm Canmore, son of Duncan, and 
a new one was built on another part of the hill. It was this castle 
that Dr. Johnson visited in 1773, supposing it to be the identical 
castle in which Duncan was murdered. 

" While in ' Romeo and Juliet ' and in ' Hamlet ' we feel that 
Shakspere now began and now left off, and refined upon or brooded 
over his thoughts, Macbeth seems as if struck out at a heat, and 
imagined from first to last with unabated fervour. It is like a 
sketch by a great master in which everything is executed with rapid- 
ity and power, and a subtlety of workmanship which has become in- 
stinctive." — Dowden. 

Macbeth, King of Scotland, is introduced in i. 3 of the play, in 
the scene on the witches' heath; murders Duncan, ii. 1, and is 
made king ; causes Banquo to be murdered, Hi. 1 ; and Macduff's 
family, iv. 1, 2 ; meets the English army at Dunsinane, Act v., and 
is slain by Macduff, v. 8. As a matter of fact, he was not killed at 
Dunsinane, but at Lumphanan two years later, in 1057. He is de- 
scribed by his wife in the fifth scene of the first act ; his ambition 
has to contend with conscientious scruples ; " What thou wouldst 
highly, that wouldst thou holily;" he is "too full of the milk of 
human kindness to catch the nearest way." These in the beginning 
are very nearly balanced ; he dwells on the prophecy and the means 
by which he might realize it ; on the other hand, he dwells on Dun- 
can's character and the honours he had received from him. The 
scale inclines to the side of right, when his wife's influence is again 
exerted, and Duncan's death is resolved upon. Struggling with re- 
morse of conscience, he confuses it, as Coleridge says, with the feel- 
ing of insecurity, and plunges into more crime in order to make 
himself safe in the results of the first. But his is not a character to 
be contented or happy in infamy ; his conscience and his imagina- 
tion work upon him till he is as if driven on by an irresistible fate, 
having " stepped so far in blood that returning were as tedious as 
going over." So possessed is he with despair, that the news of 
19 



212 INDEX TO SHAKSPERE'S WORKS. 

his wife's death only draws from him the philosophy of hopeless- 
ness: 

" And all our yesterdays have lighted fools 
The way to dusty death." 

" Although it is difficult to separate the Macbeth of history from 
the Macbeth of Shakspere and tradition, he appears to have ruled 
Scotland well, and to have benefited the church in no small degree." 
— Dictionary of English History. 

Macbeth, Lady, character in Macbeth, introduced in i. 5, where 
she promptly plans the murder of Duncan on hearing that he is to 
sleep at her house ; spurs on Macbeth to it, i. 7 ; places the daggers 
by the guards, ii. 2 ; in the banquet scene, Hi. 4,' in the sleep-walk- 
ing scene, v. 1; the doctor's report, v. 3; her death, v. 5. The 
wife of Macbeth in history was the Lady Guroch, granddaughter 
of Kenneth IV., and was a widow before her marriage with Mac- 
beth. 

" Lady Macbeth is of a finer and more delicate nature [than Mac- 
beth]. Having fixed her eye upon an end — the attainment for her 
husband of Duncan's crown — she accepts the inevitable means; she 
nerves herself for the terrible night's work by artificial stimulants ; 
yet she cannot strike the sleeping king who resembles her father, 
llaving sustained her weaker husband, her own strength gives way ; 
and in sleep, when her will cannot control her thoughts, she is pite- 
ously afflicted by the memory of one stain df blood upon her little 
hand." — Dowden. 

Macdonwald, a rebel against Duncan, vanquished and killed, 
Macbeth, i. 2. 

Macduff, Thane of Fife, an important character in Macbeth, in- 
troduced in i. 6 ; he discovers the murdered king, ii. 1 ; has fled to 
England, iv. 1; confers with Malcolm and hears of the murder of 
his family, iv. 3; slays Macbeth, v. 8. Macduff is loyal, slow to 
suspect, and unambitious ; but, when roused, he is resolute, brave, 
and unbending. The remains of Macduff's castle are said to exist 
about three miles from Dysart, in Fifeshire. Other ruins are also 
pointed out as his castle. 

Macduff, Lady, character in Macbeth, introduced in iv. 2, where 
she witnesses the murder of her little son, and is pursued by the 
murderers and afterward killed. The news carried to Macduff by 
Rosse,- iv. 3. 

Macduff, the little son of, Macbeth, iv. 2. 

Macedon, compared with Monmouth, Henry V., iv. 7. 

Ilachiavel, Merry Wives of Windsor, Hi. 1 ; I. Henry VI., v. 



INDEX TO SHAKSPERE'S WORKS. 213 

4 ; III. Henry VI., Hi. 2. He was born in Italy in 1469. Henry 
VI. died in 1471. 

MacMorris, Captain, character in Henry V., first appears in Hi. 
2. He is an Irish captain, described by Fluellen as having " no 
more directions in the true discipline of the wars, look you, of the 
Roman disciplines, than is a puppy dog ! " 

Madmen, speech of, Cymbeline, v. 4, "Tongue and brain 
not " ; imagination of, Jlidsummer-Nighfs Dream, v. 1. 

Madness, symptoms and treatment of, Comedy of Errors, iv. 4 ; 
Measure for Measure, iv. 4 ; cause of, Comedy of Errors, v. 1 ; sense 
in, Measure for Measure, v. 1; letters of, Twelfth Night, v. 1; 
prayed for, King John, Hi. 4 ', method in, Hamlet, ii. 2 ; like sweet 
bells jangled, Hamlet, Hi. 1 ; a test of, Hamlet, Hi. 4, " Ecstasy ! 
My pulse," etc. ; Ophelia's, Hamlet, iv. 5 or 2 ; harm done in, Ham- 
let, v. 2, " Give me your pardon," etc. ; prayer concerning, King 
Lear, i. 5 ; he's that way, King Lear, in. 4; remedy for, King 
Lear, iv. 4 ; reason in, King Lear, iv. 6 ; recovery from, King Lear, 
iv. 7 ; the error of the moon, Othello, v. 2 ; the world mad, King 
John, ii. 2. See Insanity. 

Madonna, the, appears to Joan, /. Henry VI., i. 2. 

Magic, The Tempest, i. 2; in. 1-3 ; music by, The Tempest, 
in. 2 ; graves opened by — Prospero abjures, The Tempest, v. 1. See 
Witchcraft. 

Magician, Rosalind claims to be a, As You Like It, v. 2 ; Glen- 
dower a, 7". Henry IV., i. 3. 

Magistrate(s), of the people, a, Coriolanus, Hi. 1, " Who puts 
his shall," etc. ; petty, Coriolanus, ii. 1. 

Magnanimity, toward enemies, I. Henry IV., v. 5 ; of a sol- 
dier, Coriolanus, ii. 2. 

Magne Dominator poli, etc.. Titus Andronicus, iv. 1. Great 
lord of the heaven, dost thou so leniently hear of wickedness % so 
leniently look upon it ? 

Magnificoes, Merchant of Venice, iv. 1 ; Othello, i. 2. 

Magpie, the (magot-pie), Macbeth, Hi. 4 ; (pie) III. Henry VI., 
v. 6. 

Mahomet, inspired with a dove, /. Henry VI., i. 2. Alluding 
to the story that Mahomet had a tame dove, which he used to feed 
with wheat from his ear, and which he led his followers to believe 
was the Holy Spirit. 

Mahu, a fiend, King Lear, Hi. 4 ; iv. 1. The names of fiends 
in these two scenes and in Hi. 6 are said to be taken from a book by 



214 INDEX TO SHAKSPERE'S WORKS. 

one Harsnet, published in 1603, entitled " Declaration of Popish Im- 
postures," and giving many details about witchcraft. 

Maidenhood, Midsummer-Nighfs Dream, ii. 1. See Elizabeth. 
It has also been supposed that the " little western flower " may refer 
to Lettice, Countess of Essex, with whom Leicester carried on an 
intrigue during her husband's absence in Ireland. The " mermaid 
on a dolphin's back," once interpreted as referring to Mary Queen of 
Scots, is now known to refer to a part of the exhibition given by 
Leicester at Kenilworth for Elizabeth's entertainment, in 1575, a 
mermaid on a dolphin's back with shooting fires. 

Maiden(s), to travel alone, As You Like It, i. 3 ; when they 
sue, Measure for Measure, i. 5 ; flowers for, A Winter's Tale, iv. 3 
or 4 >' advice to a, Hamlet, i. 3 ; Hi. 1. 

Maine, an ancient province in France, lost to England, II. 
Henry VI, i. 1 ; iv. 1, 7. 

Majesty, will not endure boldness in a subject, I. Henry IV., 
i. 3 ; weariness under, II. Henry IV., iv. 4> sits not so easy, II. 
Henry IV., v. 2 ; interests dependent on, Hamlet, Hi. 3 ; stoops to 
folly, King Lear, i. 1. 

Make (do), As You Like It, i. 1 ; ii. 2, and elsewhere. 

Makeless (mateless), Sonnet ix. 

Malady, the lesser dwarfed by the greater, King Lear, Hi. 4. 

Malchus, of Arabia, Antony and Cleopatra, Hi. 6. 

Malcolm, afterward Malcolm III., surnamed Canmore, son of 
Duncan in Macbeth, introduced in i. 2. In i. 4 he is named Prince 
of Cumberland, which was equivalent to being appointed successor 
to the throne ; flees to England, ii. 1 ; makes accusations against 
himself to test Macduff, iv. 3 ; returns with his uncle Siward to fight 
against Macbeth, v. 2 ; is hailed as king. v. 8. He is represented as 
able and brave, though cautious and prudent ; and this seems to have 
been the character of Malcolm III. in history, whose reign extended 
from 1058 to 1093. Canmore signifies " Great Head." 

Maledictions, The Tempest, i. 2 ; ii. 2 ; Hi. 2 ; iv. 1 ; v. 1 ; 
Troilus and Cressida, H. 1, 3 ; v. 1. See Curses. 

Malevolence, expressed, Coriolanus, iv. 5 ; Macbeth, iv. 3. 

Malice, nothing set down in, Othello, v. 2. See Envy. 

Mall, Mistress, Twelfth Night, i. 3. A character of Shakspere's 
time usually known as Mall Cutpurse. She dressed in man's cloth- 
ing, and was the heroine of a play by Middleton and Dekker, " The 
Roaring Girl," which was acted at the Fortune Theatre and was 
published in 1611. Her real name was Mary Frith, and her chief 



INDEX TO SHAKSPERE J S WORKS. 215 

exploit was the robbery of General Fairfax on Hounslow Heath, for 
which she was sent to Newgate. 

Malmsey-Butt, Richard III., i. 4> Clarence has been called 
from this " Malmsey Clarence." 

Malt-worms (drunkards). I. Henry I V., ii. 1. 

Malvolio, Olivia's steward in Twelfth Night, introduced in i. 5. 
He is a fool of the solemn pompous order, conceited and Pharisaical. 
His puritanical precision incites the conspirators in the household to 
play their cruel practical jokes upon him, to which his conceit makes 
him fall an easy prey. 

Mamilius, the little prince in A Winter's Tale, introduced in i. 
2; his talk with the queen's ladies, ii. 1; his illness, ii. 3; his 
death in consequence of his mother's disgrace, Hi, 2. 

" And to the very end I must confess that I have in me so much 
of the spirit of Rachel weeping in Ramah as will not be comforted 
because Mamilius is not. It is well for those whose hearts are light 
enough to take perfect comfort in the substitution of his sister Per- 
dita for the boy who died of ' thoughts high for one so tender.' Even 
the beautiful suggestion that Shakspere as he wrote had in mind his 
own dead little son still fresh and living at his heart, can hardly add 
more than a touch of additional tenderness to our perfect and piteous 
delight in him." — Swinburne. 

Mammering (hesitating), Othello, Hi. 3. 

Mammet (puppet), Romeo and Juliet, Hi. 5. 

Mammock (tear to pieces), Coriolanus, i. 3. 

Man, varnish of a complete, Love's Labour's Lost, i. 2 ; place for 
every, AIT s Well that E?ids Well, iv. 3 ; God made him; therefore 
let him pass for a, Merchant of Venice, i. 2 ; a better, better spared, 
I. Henry IV., v. 4 > a model, II. Henry IV., ii. 3 ; grace of, sought, 
Richard III., Hi. 4 ; a, not honoured as man, Troilus and Cressida, 
Hi. 3 ; one honest, Timon of Athens, iv. 3, " Had I a steward," etc. ; 
nature might say this was a, Julius Cazsar, v. 5 ; died like a, Mac- 
beth, v. 7 ; taken for all in all, Hamlet, i. 2 ; you cannot play upon 
a, Hamlet, Hi. 2 ; to give the world assurance of a. Hamlet, Hi. 4 ; 
what a piece of work is, Hamlet, ii. 2 ; capability of, Hamlet, iv. 4 
or 1 ; more than wit, King Lear, ii. 4 ; unaccommodated (uncivil- 
ized), King Lear, Hi. 4 ', life of a, tedious, Cymbeline, Hi. 6 ; a, with 
a woman's beauty, Sonnet xx. See Men. 

Manage (behaviour), As You Like It, i. 1. 

Mandragora (mandrake), a soporific, Othello, Hi. 3 ; Antony 
and Cleopatra, i. 5. 

Mandrake, the, superstition concerning — that it gave a shriek 



216 INDEX TO SHAKSPERE'S WORKS. 

when pulled from the ground, and that an evil fate pursued the one 
that rooted it up, II. Henry VI, Hi. 2 ; Romeo and Juliet, iv. 3. 

Mandrake (a small person), II. Henry IV., i. 2. 

Manhood, forgot on earth. I. Henry IV, ii. 4; degenerated, 
Much Ado about Nothing, iv. 1 ; is called foolery when it stands 
against a falling fabric, Coriolanus, Hi. 1. 

Manner, taken with the (in the act), Love's Labour's Lost, i. 1 ; 
I. Henry IV., ii. 4- 

Manner, born to the, Hamlet, i. 4- The persistent miswriting of 
this word in the familiar quotation (making it manor) arises from a 
neglect to consider the context, and also from ignoring the fact that 
Hamlet was born, not to a manor, but to a whole kingdom. 

Manners, of the court, in the country, As You Like It, Hi. 2 ; 
rude, Twelfth Night, iv. 1 ; defect of, /. Henry 1 V., Hi. 1. 

Manningtree ox, I. Henry IV, ii. 4. Manningtree was a 
place in Essex, noted for fairs, where probably an ox had been 
roasted whole. 

Mannishness, in a woman, Troilus and Cressida, Hi. 3. 

Mantle, a magic, The Tempest, i. 2. 

Mantua, a city in northern Italy, scene of Romeo and Juliet, v. 1. 

Mantuan, good old, Love's Labour's Lost, iv. 2. Battista Spag- 
nolus (1443-1516), a writer of Latin verse. 

Many, converging in one, Henry V., i. 2. 

Map, a new, with the Indies, Twelfth Night, Hi. 2. " A map to 
accompany Linschoten's ' Voyage,' published in England in 1598, 
the first in which the eastern islands were shown." 

Marcellus, an officer in Hamlet, introduced in i. 1. He was a 
friend of Hamlet, and to him the ghost appeared before Horatio or 
Hamlet saw it. In the interpretation of the characters of the play 
alluded to under the name of the play, the character of Marcellus is 
thought to be meant for that of Sir Edward Dyer, friend of Sir 
Philip Sidney. See under the name of the play. 

March, Earl of. See Mortimer and Edward IV. 

March, the Ides of, the 15th, Julius Ccesar, i. 2 ; iv. 3 ; v. 1. 

Marcians, the house of the, Coriolanus, ii. 3. 

Marcius, Caius, afterward Coriolanus, q. v. 

Marcius, Young, son of Coriolanus, introduced in v. 3 of the 
drama ; discussed in i. 3. 

Marcus Andronicus, character in Titus Andronicus, brother 
of Titus. He enters in i. 1, where he announces the choice of Titus 
as emperor; his grief and generosity, ii. 4 or 5; Hi. 1. 



INDEX TO SHAKSPERE'S WORKS. 217 

Mardian, an attendant of Cleopatra in Antony and Cleopatra, 
introduced in i. 5. 

Margarelon, Priam's natural son, introduced in Troilus and 
Cressida, v. 8. 

Margaret, a gentlewoman attending on Hero in Much Ado 
about Nothing, introduced in ii. 1, who is mistaken by the watching 
prince and Claudio for Hero while she is talking to Borachio from 
the chamber-window of her mistress. 

Margaret of Anjou, queen of Henry VI., and daughter of 
Regnier (Rene), King of Naples, Sicily, and Jerusalem, character in 
the three parts of Henry VI and in Richard III, first appearing in 
I. Henry VI, v. 3, where Suffolk has captured and fallen in love 
with her, and forms the plan of marrying her to Henry VI. The 
betrothal follows in v. 5. Her contempt for the king is expressed 
in the second part, i. 3, as well as her jealousy of the Duchess of 
Gloucester, to whom she gives in this scene a box on the ear ; her 
affection for Suffolk, Hi. 2. In the third part, i. 1, she resolves to 
raise an army, in her wrath at Henry for disinheriting their son. 
She defeated the Yorkists at "Wakefield, i. 3-5, where York was 
slain, but suffered defeat at Mortimer's Cross, Towton, ii. 3-6, Bar- 
net, v. 2, 3, and lastly at Tewksbury, v. 4., 5, where her son was killed. 
The Margaret of the play is coarse, fierce, revengeful, unprincipled. 
But her love for Suffolk is not in history, neither is there sufficient 
evidence that she had a hand in Gloucester's death, nor any that she 
stabbed York. She was confined in the Tower from 1471 to 1475, 
when she was ransomed by Louis XL, and lived in France till her 
death in 1482. It is therefore contrary to history to introduce her in 
the reign of Richard, which began in 1483 ; but her presence is 
dramatically effective, as she appears only to curse and watch with 
greedy eyes for the fulfilment of her curses, Richard III, i. 3 ; iv. 4. 

Margery Jourdain. See Jourdain. 

Maria, one of the ladies attending on the princess in Love's 
Labour's Lost, first appears in ii. 1. 

Maria, Olivia's waiting-maid in Twelfth Night, introduced in i. 
3, a keen, shrewd, witty woman, who captures Sir Toby Belch 
through her cleverness in putting up the practical joke on Mai vol io. 

Marian, Maid, 7. Henry IV., Hi. 3. The companion of Robin 
Hood, and a leading character in the morris-dance, where the part 
was generally taken by a man. Hence a name for a masculine 
woman. 

Mariana, a character in Measure for Measure, first mentioned 



21S INDEX TO SHAKSPERE'S WORKS. 

in Hi. 1, introduced in iv. 1, at " the moated grange at St. Luke's," 
after she has been betrothed to Angel o and deserted by him — a 
pitiable character. In the original story, the part she takes in the 
play was united with that of Isabella. 

Mariana, an unimportant character in All's Well that Ends 
Well, Hi. 5. 

Marigold (sunflower), A Winter's Tale, iv. 8 or 4. 

Marina, daughter of Pericles and Thaisa, introduced in the 
chorus of the third act of Pericles as an infant ; left at Tharsus, Hi. 
3 ; plot against her, prologue and first scene of Act iv; in Mitylene, 
iv. 2 or 3,6 ; her epitaph, iv. 4 / her accomplishments, prologue to 
Act v. ; meets her father, v. 1 ; betrothed to Lysimachus, v. 1 or 2. 

" She is indeed a nature that appears capable of remaining un- 
sullied amid the impurest, and, as her persecutor says, ' of making 
a puritan of the devil.' " — Gervinus. 

Marjoram, Sonnet xcix. 

Mark, God save the, Romeo and Juliet, Hi. 2, and elsewhere. 
The meaning is doubtful. It has been suggested that mark may 
mean omen — save from the disaster threatened. Another sugges- 
tion is that it means the cross, the mark of the cross. 

Mark Antony, his genius rebuked by Caesar, Macbeth, Hi. 1. 
See Antonius. 

Market, the, ended, Love's Labour's Lost, Hi. 1. Alluding to 
the proverb, " Three women and a goose make a market." 

Marie, a French earl, mentioned in Henry V., iv. 8. 

Marlowe, Christopher (born in the same year with Shakspere, 
1564, died in 1593), quoted, Merry Wives of Windsor, Hi. 1 ; As You 
Like It, Hi. 5. See Authorship and Passionate Pilgrim, The. 

Marmoset, the, The Tempest, H. 2. 

Marriage(s), rite of, The Tempest, iv. 1; v. 1; proposals of, 
Merry Wives of Windsor, i. 1 ; mercenary motives for, Merry Wives 
of Windsor, Hi. 2, 4 / without love, Merry Wives of Windsor, v. 5, 
near the end ; railings against, Much Ado about Nothing, i. 3 ; H. 
1, 3 ; v. 4 ; goes by destiny, Merchant of Venice, ii. 9 ; As You Like 
It, Hi. 3 ; coldness in, As You Like It, iv. 1 ; a world-without-end 
bargain, Love's Labour's Lost, iv. 3 ; a mad, Taming of the Shrew, 
Hi. 2 ; disparity of years in, Twelfth Night, ii. 4; reasons for, All's 
Well that Ends Well, i. 3; offer of, from a lady, All's Well that Ends 
Well, H. 3 ; a distasteful, All's Well that Ends Well, ii. 3, end; un- 
faithfulness in, A Winter's Tale, i. 2 ; a father's counsel concerning, 
A Winter's Tale, iv. 3 ; second, A Winter's Tale, v. 1 ; treaty of, 



INDEX TO SHAKSPERE'S WORKS. 219 

King John, ii. 1 or 2 ; promise of, II. Henry IV., ii. 1 ; God the 
best maker of, Henry V., v. ; contract of, I. Henry VI, v. 1, 5 ; 
proposed, I. Henry VI, v. 3 ; forced, I. Henry VI, v. 5 ; by proxy, 
II Henry VI, i. 1 ; hasty, III Henry VI, iv. 1 ; with a sister-in- 
• law, Henry VIII, ii. 4 ; of Romeo and Juliet, ii. 6 ; proposed, Ro- 
meo and Juliet, Hi. 5 ; an abhorred, Romeo and Juliet, iv. 1; of a 
newly-made widow, Hamlet, i. 2 ; state considerations in, Hamlet, i. 
3 ; no more, to be, Hamlet, Hi. 1 ; second, Hamlet, Hi. 2, player 
queen ; motives in, King Lear, i. 1 ; justification of a secret, Othello, 
i. 3 ; of Antony and Octavia, Antony and Cleopatra, ii. 2, 6 ; of 
Imogen, Cymbeline, i. 1; urged, Sonnets i.-xvii.; of true minds, 
Sonnet cxvi ; ceremony of, Twelfth Night, v. 1; hands, not hearts, 
Othello, Hi. Jf.. 

Married man, Benedick the, Much Ado about Nothing, i. 1; 
v. 1. 

Marry, an exclamation used in numberless cases, said to be a 
corruption of Mary. 

Marry-trap, Merry Wives of Windsor, i. 1. Hudson says it 
seems to have been a word of triumph in seeing one caught in his 
own snare. 

Mars, of malcontents, Merry Wives of Windsor, i. 3, end; 
novices of, AIVs Well that Ends Well, ii. 1 ; the file of, AIVs Well 
that Ends Well, Hi. 3; fear of, AIVs Well that Ends Well, iv. 1; in 
swaddling-clothes, I Henry IV., Hi. 2 ; drave, to faction, Troilus 
and Cressida, Hi. 3 ; invoked, Coriolanus, i. 4 ; an eye like, Hamlet, 
Hi. Jf. ; in love, Venus and Adonis, I. 98. The Roman god of war. 

Mars (planet), born under, AIVs Well that Ends Well, i. 1 ; his 
true moving, I. Henry VI, i. 2. The irregularities in the move- 
ments of the planet Mars, consequent on the eccentricity of his or- 
bit, were puzzling to astronomers until Kepler's " New Astronomy ; 
or, Commentaries on the Motions of Mars " appeared in 1609. 

Marseilles, France, the scene of a part of AIVs Well that Ends 
Well. 

Marshal, the lord, in Richard II, i. 3, was the Duke of Surrey, 
who temporarily filled the place, the office being held by Norfolk, 
one of the combatants. 

Marshalsea, prison in Southwark, Henry VIII, v. 4. 

Mart (bargain), Hamlet, i. 1. 

Martext, Sir Oliver, a vicar in As You Like It, determined that 
" ne'er a fantastical knave of them all shall flout me out of my call- 
ing." For the use of the title Sir, see under Evans. 



220 INDEX TO SHAKSPERE'S WORKS. 

Martin, St., summer of, I. Henry VI, i. 2. Fair weather in 
late autumn — Indian summer. 

Martius, character in Titus Andronicus, son of Titus, introduced 
in i. 1 or 2, is taken for the murderer of Bassianus, ii. or 4> exe- 
cuted, Hi. 1. 

Martlemas (Martinmas, November 11th), II. Henry IV., ii. 2. 
Applied to an old man given to gaiety, because it was the time of 
St. Martin's or Indian summer. 

Martlet, the temple-haunting, chooses delicate air, Macbeth, i. 
6 ; builds on the outward wall, Merchant of Venice, ii. 9. 

Marullus, one of the tribunes in Julius Caesar, first appears in 
i. 1, where he rebukes the people for forgetting Pompey. He and 
Flavius tore the scarfs and badges from Caesar's images, and were 
put to silence, i. 2. 

Mary, Princess, afterward queen (1553-'58). Henry VIII, iv. 2. 

Mary, the Virgin, Richard II, ii. 1 ; Henry VIII, v. 2. 

Mary, Queen of Scots. See Maidenhood. 

Mask(s), sun-expelling, Two Gentlemen of Verona, iv. 4 ; black, 
Measure for Measure, ii. 4; Romeo and Juliet, i. 1. They were 
worn by gentlewomen to protect their faces from the sun and at the 
theatre. 

Masque, a, Timon of Athens, i. 2. 

Masquerades, Much Ado about Nothing, ii. 1 ; Love's Labour's 
Lost, v. 2 ; Romeo and Juliet, i. 4, 5 ; Merchant of Venice, ii. 6 ; 
Henry VIII, i. 4. 

Mass, evening, Romeo and Juliet, iv. 1. 

Master and men, influence of, on one another, II. Henry IV., 
v. 1, " It is a wonderful thing," etc. 

Master-gunner, of Orleans, and his son, characters in I. Hen- 
ry VI, i. 4' 

Masters, all cannot be, Othello, i. 1. 

Match, set a (arranged an expedition f), I. Henry IV, i. 2. 

Mated (bewildered), Comedy of Errors, Hi. 2 ; v. 1 ; my mind 
has, Macbeth, v. 1. 

Material fool, a, As You Like It, Hi. 3. A fool with matter in 
him, or a fool in what is material or essential. 

Mathematics, Taming of the Shrew, i. 1. 

Matron, evil passion in a, Hamlet, Hi. 4. 

Maund (a small basket), Lover's Complaint, I. 86. 

May, as full of spirit as the month of, I. Henry IV., iv. 1 ; of 
life, fallen into the sere the yellow leaf, Macbeth, v. 3 ; of youth, 



INDEX TO SHAKSPERE'S WORKS. 221 

Henry "P., i. 2; allusions to the sports of, Midsummer-Night's 
Dream, i. 1; iv. 1; Twelfth Night, Hi. 4; All's Well that Ends 
Well, ii. 2 ; Henry V1IL, v. 3. 

Mayor of London, in i". Henry VI., first appears in i. 3. His 
name was John Coventry. 

Mayor of London, character in Richard III, first appears in 
Hi. 1. Sir Edward Shaw, brother of the Doctor Shaw that is men- 
tioned in Hi. 5. 

Mayor of London, Henry VIII., iv. 1; v. 4. Sir Stephen Pea- 
cocke. 

Mayors of York, Coventry, and St. Alban's. See York, Cov- 
entry, and St. Alban's. 

Mean, advantage of being, in that of fortune, Merchant of 
Venice, i. 2 ; Nature makes the mean that makes her better, A Win- 
ter's Tale, iv. 3. 

Mean (tenor), Love's Labour's Lost, v. 2 ; A Winter's Tale, iv. 
2 or 3 ; Two Gentlemen of Verona, i. 2. 

Means, living beyond one's, Merchant of Venice, i. 1 ; slender, 
II. Henry IV., i. 2; too humble for the mind, Richard III, 
iv. 2 ; wasted, Othello, iv. 2. 

Meagreness, II. Henry TV., Hi. 2 ; v. 4. See Leanness. 

Mealed (sprinkled), Measure for Measure, iv. 2. 

Measles (distemper), Coriolanus, Hi. 1. 

Measure, to tread a, Love's Labour's Lost, v. 2 ; As You Like It, 
v. 4- A slow, stately dance. 

Measure for Measure, first published in 1623, is referred to 
the period that produced the greater plays, Julius Co?.sar, Hamlet, 
Othello, Macbeth, and King Lear, and is supposed to have been writ- 
ten about the year 1603. The plot, originally from a story in the 
" Hecatommithi " of Giraldi Cinthio, was the foundation of a play, 
" Promos and Cassandra," published in 1578, by George Whetstone, 
who afterward translated the Italian story for his " Heptameron of 
Civil Discourses," 1582. The most notable change made by Shak- 
spere in the plot was the introduction of the character of Mariana, 
thus doing away with a repulsive feature of the old plot, the marry- 
ing of Isabella (Cassandra) to Angelo (Promos). Notwithstanding 
the repellent story and the disgusting nature of most of the humour, 
this is in many respects a very noble play — in the general tone of 
thought in the serious scenes, the strength and purity of Isabella's 
character, the subtlety with which Angelo's is drawn, and the beauty 
of single passages. The scene is laid in Vienna, at about the year 



INDEX TO SHAKSPERE'S WORKS. 

1485, the date being fixed by the allusion to Corvinus, King of Hun- 
gary, in i. 2, who in that year took Vienna. Cinthio lays the scene 
in Innspruek ; Whetstone in Julio, Hungary. 

Meats, influence of. on temper, Taming of the Shrew, iv. 1, 3. 
An old book, " The Glasse of Humours," says that a choleric man 
should " abstain from all salt, scorched, dry meats, from mustard, 
and such things as will aggravate his malignant humours." See 
Beef. 

Mecaenas, character in Antony and Cleopatra, introduced in it, 
2, a friend of Caesar. 

Mechanics, to wear the signs of their trades, Julius Cm- 
sar, i. 1, 

Medea, Merchant of Venice, v. 1 ; 11. Henry VI., v. 2. Flee- 
ing from Colchis with her lover Jason, she was pursued by her 
father ; and to gain time she caused her little brother Absyrtus to 
be killed and his limbs to be thrown on the water, that her father, 
in stopping to collect them, might be detained long enough to allow 
of her escape. 

Meddlers, Timon of Athens, iv. 3 ; Hamlet, Hi. 4 ; v. 2. 

Meddle nor make, Troilus and Cressida, i. 1. 

Medice, etc., Henry VI, ii. 1. Physician, heal thyself. 

Medicine, theory and practice of, allusions to: lives consist of 
the four elements, Twelfth Night, ii. 3 ; bleeding, Love's Labour's 
Lost, ii. 1; Richard II, i. 1; diagnosis by urine, Two Gentlemen 
of Verona, ii. 1; Twelfth Night, Hi. 4; II. Henry IV., i. 2; Mac- 
beth, v. 3 ; a miracle in, AIVs Well that Ends Well, ii. 3 ; read in 
Galen, II Henry IV, i. 2. See under Arteries, Blood, Circula- 
tion of the, Diseases, Digestion, Insanity, Medicines, Physicians, 
Poisons, Surgery. 

Medicine (physician), a. All's Well that Ends Well, ii. 1. 

Medicines: narcotics, Othello, Hi. 3; Antony and Cleopatra, i. 
5 ; Cymbeline, iv. 2 ; aqua vitae, A Winter's Tale, iv. 3; Romeo and 
Juliet, iv. 5 ; sherris, II Henry IV., iv, 3 ; balm, III Henry VI, 
iv. 3 ; Troilus and Cressida, i. 1; Timon of Athens, Hi. 5 ; liquid 
gold, The Tempest, v. 1 (grand liquor) ; All's Well that Ends Well, 
v. 3; II Henry IV., iv. 4; mummy (a medicine made from em- 
balmed bodies), Othello, Hi. 4; eisel or vinegar (to prevent con- 
tagion), Sonnet cxi. ; recipe for, All's Well that Ends Well, i. 3 ; ii. 
1 ; plantain-leaf, Love's Labour's Lost, Hi. 1 ; Romeo and Jxdiet, i. 
2; parmaceti, I. Henry IV., i. 3; cobweb, Midsummer-Night's 
Dream, Hi. 1 ; flax and whites of eggs, King Lear, Hi. 7 ; cathar- 



INDEX TO SHAKSPERE'S WORKS. 223 

tics, As You Like It, Hi. 2 ; Richard II., i. 1 ; Henry VI, i. 3 ; 
Hi. 2 ; iv. 4 ; Coriolanus, Hi. 1 ; Macbeth, v. 3 ; Sonnet cxviii, 

Mediterranean Sea, the, Love's Labour's Lost, v. 1. 

Medlar, the true virtue of the, As You Like It, Hi. 2. 

Meeting, when shall we three meet again, Macbeth, i. 1. See 
Welcome. 

Mehercle (by Hercules f), Love's Labour's Lost, iv. 2. 

Meiny (servants), King Lear, ii. 4. 

Melancholy, kinsman to despair, Comedy of Errors, v. 1 ; Count 
John's, Much Ado about Nothing, i. 3 ; ii. 1; not conducive to long 
life, Love's Labour's Lost, v. 2 ; turn, to funerals, Midsummer-Nighfs 
Dream, i. 1 ; out of a song, As You Like It, ii. 5 ; kinds of, As You 
Like It, iv. 1; nurse of frenzy, Taming of the Shrew, induction, 2 ; 
trick of, AIVs Well that Ends Well, Hi. 2 ; a surly spirit, King John, 
Hi. 3; fashion of, King John, iv. 1; similes for, I. Henry IV., i. 2; 
cursed, i". Henry IV., ii. 3; effect of, Hamlet, ii. 2 ; Hi. 1 ; power 
of, Cymbeline, iv. 2 ; constant, Pericles, i. 2. 

Melford, commons of, //. Henry VI, i. 3. 

Melun, a French lord in King John, introduced in v. 2. He is 
said by Matthew Paris to have disclosed to some of the English 
barons before his death, which took place in London, that Louis 
and sixteen earls and barons of France had secretly sworn, that if 
Louis should conquer England and be crowned king, all the Eng- 
lish nobility should be killed, banished, or imprisoned as traitors and 
rebels, he himself being one of the sixteen. The dauphin's oath is 
in the old play. 

Memory, made a sinner, The Tempest, i. 2 ; warder of the brain, 
Macbeth, i. 7 ; of things precious, Macbeth, iv. 3 ; devoted to one 
subject, Hamlet, i. 5; of old woes, Sonnet xxx. ; of the beloved, 
Sonnet cxxii. ; ventricle of the. see Ventricle. 

Memory (memorial), Coriolanus, v. 1. 

Memphis, pyramid of, I. Henry VI, i. 6. 

Men, a bill for putting down, Merry Wives of Windsor, ii. 1; 
supremacy of, Comedy of Errors, ii. 1 ; why scanted of hair, Comedy 
of Errors, ii. 2 ; what they dare do, Much Ado about Nothing, iv. 1 ; 
should be thankful not to be beasts, Love's Labour's Lost, iv. 2 ; 
girls dressed like, As You Like It, i. 3 ; more fickle than women, 
Twelfth Night, ii. 4. ; not three good, unhanged, I. Henry IV., ii. 
4 ; no faith in, Romeo and Juliet, Hi. 2 ; summer-birds, Timon of 
Athens, Hi. 6; ranks of, Macbeth, Hi. 1; inconstancy of, Othello, 
Hi. 4, " Tis not a year or two," etc-. ; marble minds of, Lucrece, I. 
20 



224: INDEX TO SIIAKSPERE'S WORKS. 

1240 ; old, of less truth than tongue, Sonnet xvii ; best are moulded 
out of faults, Measure for Measure, v. 1 ; are as the time is, King 
Lear, v. 3. See Man. 

Menaphon, Duke, mentioned in Comedy of Errors, v. 1. 

Menas, character in Antony and Cleopatra, introduced in ii. 1, 
a friend of Pompey, a pirate. 

Menecrates, character in Antony and Cleopatra, introduced in 
ii. 1, a friend of Pompey, a pirate. 

Menelaus, brother of Agamemnon, character in Troilus and 
Cressida, introduced in i. 3, the husband of Helen. Spoken of also 
in III. Henry VI, ii. 2. 

Menenius Agrippa, character in Coriolanus, appears in i. 1, 
as an ambassador from the patricians to the people ; description of 
himself, ii. 1 ; refused, v. 2. In Plutarch, he is said to have been 
the pleasantest old man in the senate, but nothing further is given 
of him except the fact of his telling the fable in i. 1. He is an ad- 
miring friend of Coriolanus, a fluent talker, witty, good-humoured, 
discreet, and persuasive. 

Menteith, Earl of, 7. Henry IV., i. 1. 

Menteith, a thane of Scotland, character in Macbeth, appears 
in v. 2, 4, and 7. 

Me perdonato, Taming of the Shrew, i. 1. I being pardoned, 
or perdonate, pardon me. 

Mephistopheles, Merry Wives of Windsor, i. 1. Here used 
for an ugly fellow. 

Me pompae, etc., Pericles, ii. 2. Glory leads me on. 

Mercade, a lord attending on the princess in Love's Labour's 
Lost, appears only in the last scene. 

Mercatante (merchant), Taming of the Shrew, iv. 2. 

Mercatio, the rich, mentioned in Two Gentlemen of Verona, i. 
2, as one of Julia's suitors. 

Merchant, a, character in the Comedy of Errors, introduced 
in i. 2, a friend to Antipholus of Syracuse. 

Merchant, a, character in Timon of Athens, i. 1, where he is 
seeking patronage. 

Merchant of Venice, the, a comedy known to have been acted 
before 1598, and probably the same as " The Venesyon Comedy," 
acted August 25, 1594. The internal indications are that it was 
written as early as the latter year, though the date has been placed 
as late as 1596. It was first published in 1600. No earlier tale or 
play is now known that unites the two stories contained in this 



INDEX TO SHAKSPERE'S WORKS. 225 

play — that of the pound of flesh and that of the three caskets. But 
one Stephen Gosson, who published his " School of Abuse " in 1579, 
mentions a play, " The Jew," which represented " the greediness of 
worldly chusers, and bloody minds of usurers." So that Shakspere 
may have taken his plot directly from this forgotten drama. Both 
of the stories are very old. That of the pound of flesh, Mr. Collier 
says, is unquestionably of Oriental origin. It was told by Giovanni 
Fiorentino in 1378 in a collection of tales, " II Pecorone," the cir- 
cumstances very much resembling those of the play ; in the " Ora- 
tor," by Alexander Silvayn, translated into English in 1598, and in 
some old ballads, " The Northern Lord " and " Gernutus, the Jew of 
Venice," The story of the three caskets is in the Greek romance of 
"Barlaam and Josephat," about 800; and was again told in the 
'-' Gesta Romanorum," translated in 1577, where the story is entitled 
" Ancelmus the Emperour." The time of action is Shakspere's own 
day; the scene, Venice and Portia's house at Belmont, somewhere 
on the Continent, probably. The name Belmont is the same used in 
the story from " II Pecorone." 

Mercury, god of lying, commerce, and thievery, and messenger 
of Jupiter, Twelfth Night, i. 5 ; King John, iv. 2 ; I. Henry IV., iv. 
1 ; Troilus and Cressida, ii. 3 ; Hamlet, Hi. If. ; A Winter's Tale, 
iv. 2 ; Henry V., ii., chorus ; Richard III., ii. 1. 

Mercutio, friend of Romeo, first appears in i. £. In Hi. 1 he is 
slain by Tybalt, who has been seeking a quarrel with Romeo. See 
Romeo. 

" Wit ever wakeful, fancy busy and procreative as an insect, 
courage, an easy mind that, without cares of its own, is at once dis- 
posed to laugh away those of others, and yet to be interested in them 
— these and all congenial qualities, melting into the common copula 
of them all, the man of rank and the gentleman, with all its excel- 
lences and its weaknesses, constitute the character of Mercutio ! " — 
Coleridge. 

Mercy, assaulted by prayer, The Tempest, epilogue; obligation 
to, The Tempest, v. 1, "And shall not myself," etc.; mistaken, 
Measure for Measure, ii. 1, " Mercy is not itself," etc. ; becomes the 
great — of Heaven, Measure for Measure, ii. 2 ; devilish, Measure for 
Measure, Hi. 1 ; when made by vice, Measure for Measure, iv. 2 ; 
recommended to Shylock, Merchant of Venice, Hi. 3 ; iv. 1; the 
better part made, As You Like It, Hi. 1 ; beyond the infinite reach 
of, King John, iv. 3 ; for small and great offences, Henry V., ii. 2 ; 
a vice of, Troilus and Cressida, v. 3 ; at differences with honour, 
Coriolanus, v. 3 ; nobility's badge, Titus Andronicus, i. 1 or 2 ; to 



226 INDEX TO SHAKSPERE'S WORKS. 

murderers, Romeo and Juliet, iii. 1, end; emboldens sin, Timon of 
Athens, Hi. 5 ; show no, Timon of Athens, iv. 3, " That, by killing 1 ," 
etc. ; whereto serves, but to confront the visage of offence, Hamlet, 
Hi. 3 ; to the falling, Henry VIII., iii. 2. 

Mered (limited), Antony and Cleopatra, iii. 10 or 12. 

Merit, honours not purchased by, Merchant of Venice, ii. 9 ; 
value without, Troilus and Cressida, ii. 2 ; often overlooked, on ac- 
count of one defect, Hamlet, i. 4; seldom justly attributed, AWs 
Well that Ends Well, iii. 6 ; men of, sought after, II. Henry IV., 
ii. 4 ; far beyond recompense, Macbeth, i. 4- 

Merlin, prophecies of, I. Henry 1 V., iii. 1 ; King Lear, iii. 2, 
end. See Prophecies. 

Mermaid, music of a, Comedy of Errors, iii. 2 ; Midsummer- 
Night's Dream, ii. 1 ; III. Henry VI, iii. 2 ; Hamlet, iv. 7 ; Venus 
and Adonis, I. 429. 

Merops, son of. Two Gentlemen of Verona, iii. 1. Phaethon. 

Merriman, a hunting-dog, Taming of the Shrew, induction, 1. 

Merry Wives of Windsor, The, a comedy written as we have 
it probably between 1598 and 1601, though an allusion in iv. 3 has led. 
some to suppose that it was written in or soon after 1592, because 
then free post-horses were given, by order of Lord Howard, to a 
German duke who passed through Windsor. There is no reason, 
however, for supposing that the event might not have been alluded 
to several years after its occurrence. A plausible explanation is 
that the play, in an early form which has come down to us, was writ- 
ten at the former date ; while the amended form was later, perhaps 
even after the accession of James I. (See Knights.) One John 
Dennis, who remodelled the play in 1702 for the stage, says in the 
dedication that it was written in fourteen days at the request of 
Queen Elizabeth ; and another writer adds that it was because she 
wished to see Falstaff as a lover. The plot is not known to have 
been drawn from any other, though some of the incidents had been 
used before. That between Falstaff and Ford in disguise is said to 
be in Fiorentino's " Art of Loving," and in Straparola's " Ring." 
The time is probably before the death of Henry IV., since Falstaff is 
spoken of as being still in favour at court. There has been consid- 
erable controversy, both as to the time when this play was written, 
and as to its place in the series that include the characters of Fal- 
staff, Mrs. Quickly, Pistol, Nym, and Bardolph. Difficulties are met 
with under every supposition possible. Some, but few, have sup- 
posed the Falstaff of the Merry Wives of Windsor not to be the 



INDEX TO SHAKSPERE'S WORKS. 227 

same as the Falstaff of the historical plays, who, as is well known, 
was at first called Oldcastle. There is more reason to suppose that 
there are two Mistress Quicklys. The question is of little impor- 
tance. 

Messes (grades), A Winter's Tale, i. 2. 

Messala, a friend of Brutus and Cassius in Julius Coesar, first . 
appears in iv. 3, bringing news of Portia's death. 

Messaline (Mitylene % Twelfth Night, ii. 1, 

Messenger, a, is what he knows, Antony and, Cleopatra, ii. 5 ; 
of ill news, The Tempest, ii. 1 ; II. Henry IV., i. 1 ; Antony and 
Cleopatra, ii. 5 ; Macbeth, v. 5 ; of good news, Merchant of Venice, 
ii. 9 ; I. Henry IV, i. 1. 

Messina, Sicily, scene of Much Ado about Nothing, and a part of 
Antony and Cleopatra. Pompey had a house there, ii. 1. 

Metaphysical (supernatural), Macbeth, i. 5. 

Metaphysics, Taming of the Shrew, i. 1. 

Meteors, his heart's, Comedy of Errors, iv. 2. Allusion to me- 
teors imagined to look like armies meeting: ominous, Richard II., 
ii. 4; I. Henry IV., ii. 4; over a ship, The Tempest, i. 2, " To every 
article," etc. ; Romeo and Juliet, Hi. 5 ; King John, v. 2. 

Metellus Cimber, one of the conspirators in Julius Caisar, first 
appears in ii. 1. His suit to Caesar for the recall of his banished 
brother, Hi. 1, was made the occasion for the assassins to gather 
about Caesar. 

Mettle, of the English, Henry V., Hi. 5 ; undaunted, Macbeth, 
i. 7 ; of a king, King John, ii. 2. 

Michael, Sir, a friend of the archbishop in I. Henry IV, ap- 
pears only in iv. 4. 

Michael, one of the followers of Jack Cade in his insurrection, 
II. Henry VI, iv. 2, 3. 

Michaelmas, Merry Wives of Windsor, i. 1; I. Henry IV, 
ii. 4. The feast of St. Michael, September 29th. The custom of 
eating roast goose on that day was at least as early as the fifteenth 
century. It was also the day for choosing civil magistrates. 

Micher (truant), I. Henry IV, ii. 4. 

Miching mallecho (sly mischief), Hamlet, Hi. 2. 

Middle-earth (the natural world), Merry Wives of Windsor, v. 5. 

Midnight, almost fairy-time, Midsummer-Nighfs Bream, v. 1 ; 
business at, Henry VIII, v. 1 ; the witching time of night, Hamlet, 
Hi. 2 ; going to bed after, Twelfth Night, ii. 3. 

Midsummer madness, Twelfth Night, Hi. 4. 



228 INDEX TO SHAKSPERE'S WORKS. 

Midsummer-Night's Dream, A, a comedy in which three sets 
of actors appear — the Duke of Athens and his friends, the Athenian 
handicraftsmen, and the fairy-people. It was first published in 
1600, but was mentioned in 1598, and is thought to have been writ- 
ten between 1594 and 1598, and by some authorities even as early as 
1592. Possibly some other dramatist assisted Shakspere in the scenes 
between the lovers. The life of Theseus in Plutarch may have 
given some suggestions for the play ; and for the part of the fairies 
some hints may have been furnished by a little book mentioned 
under Puck. The scene of the action is ostensibly Athens, and the 
time three days, ending at midnight of the 1st of May ; but time 
and place are entirely disregarded. 

" The epilogue expresses satisfaction if the spectator will regard 
the piece as a dream : for in a dream time and locality are obliterated ; 
a certain twilight and dusk is spread over the whole. . . . We have 
before said that the piece appears designed to be treated as a dream ; 
not merely in outer form and colouring, but also in inner significa- 
tion. The errors of that blind intoxication of the senses, which 
form the main point of the play, appear to us to be an allegorical 
picture of the errors of a life of dreams." — Gervinus. 

Mighty, the, dead, I. Henry VI, ii. 2; Hi. 2 ; Julius Ccesar, 
Hi. 1 ; v. 5 ; Coriolanus, v. 5 ; Antony and Cleopatra, v. 1, 2. 

Milan, Duke of, Prospero, in The Tempest. 

Milan, Duke of, the father of Silvia in the Two Gentlemen of 
Verona, introduced in ii. 4> 

Mile-End Green, All's Well that Ends Well, iv. 3 ; II. Henry 
IV., Hi. 2. A place for sports and musters. 

Milford-Haven, Wales, Cymbeline, Hi. 2 ; scene of, Hi. 4. 

Milk of human kindness, the, Macbeth, i. 5. 

Miller, Yead, mentioned in Merry Wives of Windsor, i. 1. 

Milliner, A Winter's Tale, iv. 3 or 4. Men were milliners in 
Shakspere's time. 

Mill-sixpences, Merry Wives of Windsor, i. 1. They were used 
as counters. 

Millstones, wept, Richard III, i. 3, 4 ; Troilus and Cressida, 
i.2. 

Milo, Troilus and Cressida, ii. 3. An athlete of Crotona, a 
Greek city of southern Italy, one of whose feats was the carrying of 
a living bull on his shoulders through the race-course at Olympia. 
He was born about 520 b. c, and was therefore some hundreds of 
years before the Trojan war. 

Mind, the, affected by food, Love's Labour's Lost, i. 1 ; makes 



INDEX TO SHAKSPERE'S WORKS. 229 

the body rich, Taming of the Shrew, w. 3 ; contempt for the work 
of the, Troilus and Cressida, i. 3 ; tempest in the, King Lear, Hi. 
4 ; infected, diseased, Macbeth, v. 1,3 ; a noble, o'erthrown, Hamlet, 
Hi. 1 ; no art to find its construction in the face, Macbeth, i. 4 ; fear- 
less, climb soonest into crowns, III. Henry VI, iv. 7. 

Mine eye and heart are at a mortal war, Sonnet xlvi. 

Mine eye hath played the painter, Sonnet xxiv. 

Mineral (mine), Hamlet, iv. 1, or Hi. 5. 

Minerva, goddess of wisdom, Taming of the Shrew, i. 1. 

Mines (undermines), As You Like It, i. 1. 

Minim's rest, a, Merry Wives of Windsor, i. 3. A minim is a 
half -note in music. 

Minister, services of a king's, A Winter's Tale, iv. 1 or 2. 

Minnows, Love's Labour's Lost, i. 1; Sicinius a Triton of the, 
Coriolanus, Hi. 1. 

Minola. See Baptista. 

Minos, King of Crete, III. Henry VI, v. 6. 

Minotaurs, I. Henry VI, v. 3. The minotaur was a fabled 
monster in Crete, having a human head and the body of a bull. It 
roamed through a labyrinth made by Dsedalus, and was fed with hu- 
man victims. 

Miracle-plays and Moralities, the, allusions to. See Herod, 
Termagant, Vice. 

Miracle(s), past, AWs Well that Ends Well, ii. 1, 3 ; Henry 
V., i. 1 ; a pretended, II. Henry VI., ii. 1 ; thy life's a, King Lear, 
iv. 6. 

Miranda, the heroine of The Tempest, one of the most exquisite 
characters in the dramas. Brought up away from society and with 
no teacher but her father, she is natural, unconventional, but full of 
native grace and dignity. 

" She is one of those quiet natures whose mental worth is closed 
as within a bud, whose depth of character is hidden, like the fire of 
the diamond, until the occasion comes which strips off the conceal- 
ing husk, and reveals the richness and splendour of the inner life. 
Reared in solitude, she is like a blank leaf as regards all social gifts 
and conventional accomplishments. She is quiet and of few words, 
but her fancy is full of inward life and playfulness, and her pure 
soul uninjured by intercourse with mankind." 

" I do not know a more wonderful instance of Shakspere's mas- 
tery in playing a distinctly rememberable variety on the same re- 
membered air, than in the transporting love-confessions of Romeo 
and Juliet and Ferdinand and Miranda. There seems more passion 
in the one and more dignity in the other ; yet you feel that the 



230 INDEX TO SHAKSPERE'S WORKS. 

sweet girlish lingering and busy movement of Juliet, and the calmer 
and more maidenly fondness of Miranda, might easily pass into each 
other. ' ' — Coleridge. 

Mirth, a man of, Love's Labour's Lost, ii. 1 ; tears of, Midsum- 
mer-Night's Dream, v. 1 ; goes all the day, A Winter's Tale, iv. 2 ; 
rather have a fool to make, As You Like It, iv. 1 ; away from home, 
Henry V., i. 2 ; exhortations to, Merchant of Venice, i. 1 ; ii. 2 ; 
Midsummer- Night's Dream, i. 1 ; Taming of the Shrew, induction, 
2; A Winter's Tale, iv. 3 ; I. Henry IV., ii. 4; Macbeth, Hi. 4 ; a 
light heart lives long, Love's Labour's Lost, i. 2 ; all, from the crown 
of the head to the sole of the foot, Much Ado about Nothing, Hi. 2; 
of a child, A Winter's Tale, i. 2. 

Misanthrope, a, Timon of Athens, iv. 1, 3; v. 2. See Cynics. 

Mischief, swift to enter the thoughts of the desperate, Romeo 
and Juliet, v. 1 ; mourning past mischief, draws new mischief on, 
Othello, i. 3. 

Misenum, Italy, scene of a part of Antony and Cleopatra. 

Misers, Henry V., ii. 4 ; like whales. Pericles, ii. 1 ; gold of, 
Venus and Adonis, I. 767 ; Lucrece, I. 855. 

Miserable, the, hope the only medicine for, Measure for Meas- 
ure, Hi. 1. 

Misery, makes strange bedfellows, The Tempest, ii. 2 ; parts the 
flux of company, As You Like It, ii. 1; willing, Timon of Athens, 
iv. 3 ; sees miracles, King Lear, ii. 2 ; of one's betters, King Lear, 
Hi. 6, end; trodden on, Venus and Adonis, I. 707 ; makes sport to 
mock itself, Richard 1L, ii. 1. See also Adversity, Misfortune. 

Misfortune, turned to advantage, I. Henry IV., iv. 1, "You 
strain too far," etc. ; doomed to, Romeo and Juliet, Hi. 3 ; friends 
who desert in, King Lear, ii. 4t Timon of Athens. Hi. 1, 3 ; iv. 
2, 3. See Adversity, Woe, Sorrow. 

Misfortunes, come not singly, Hamlet, iv. 5, 7 ; Pericles, i. 4. 

Mislike (dislike), Merchant of Venice, ii. 1 ; II. Henry VI, i. 1. 

Miss (dispense with), The Tempest, i. 2. 

Missive (messenger), Antony and Cleopatra, ii. 2. 

Mistakes, a lark taken for a bunting, All's Well that Ends 
Well, ii. 5 ; a drunkard for a god, The Tempest, v. 1. 

Mistletoe, baleful, Titus Andronicus, ii. 3. 

Mistress (the jack at bowls), Troilus and Cressida, Hi. 2. 

Mistrust. See Doubt, Suspicion. 

Mithridates, of Comagene, Antony and Cleopatra, Hi. 6. 

Mitylene, in Lesbos, scene of a part of Pericles. 



INDEX TO SHAKSPERE'S WORKS. 231 

Mob(s), a London, Henry VIII., v. 4 ; Roman, Coriolanus, i. 1 ; 
ii. 1; Hi. 1, 3; iv. 1, 2, 6; Antony and Cleopatra, v. 2; the fool 
multitude, Merchant of Venice, ii. 9. 

Mobled, Hamlet, ii. 2. Hastily dressed, or, perhaps, hooded or 
muffled. Mob-cap is from the same word. 

Mockery, made serious, Henry V., i. 2 ; of Beatrice, Much Ado 
about Nothing, Hi. 1 ; returned, Love's Labour's Lost, v. 2 ; solemn, 
Hamlet, Hi. 4 ; of a man by his own achievements, Troilus and 
Cressida, iv. 2. 

Model (platform ?), Much Ado about Nothing, i. 3. 

Moderation, Midsummer-Nigh fs Dream, ii. 3, " A surfeit," etc. ; 
commended, Henry VIII, i. 1; Romeo and Juliet, ii. 6; Hi. 3; 
Merchant of Venice, i. 2 ; Othello, ii. 3. See Excess. 

Modern (trivial or ordinary), As You Like It, ii. 7 ; AIVs Well 
that Ends Well, ii. 3 ; Antony and Cleopatra, v. 2; King John, 
Hi. 4. 

Modesty, may more betray our sense, etc., Measure for Jleasure, 
H. 2 ; the witness of excellence, Much Ado about Nothing, ii. 3 ; 
shown in the face, III. Henry VI., Hi. 2 ; too great, Coriolanus, i. 
9 ; of a girl, Othello, i. 3 ; an excellent touch of, Twelfth Night, H. 
1 ; the crimson of, Henry V., v. 2 ; of women in men's apparel, Two 
Gentlemen of Verona, v. 4 ; Cymbeline, Hi. 4. 

Modesty (moderation), Taming of the Shrew, induction, 1. 

Modo, a fiend, King Lear, Hi. 4 ', iv. 1. See Mahu. 

Module (model, outward show), AIVs Well that Ends Well, iv. 3 ; 
King John, v. 7. 

Moe (more), A Winter's Tale, i. 2 ; v. 2 ; (to mow), Tempest, ii. 2. 

Moiety (portion), I. Henry IV., Hi. 1. 

Moldwarp (mole), I. Henry IV., Hi. 1. 

Mole, the blind, The Tempest, iv. 1; A Winter's Tale, iv. 3; 
Hamlet, i. 5. 

Mole(s) (marks). Twelfth Night, v. 1; King John, Hi. 1; Ham- 
let, i. 4> Cymbeline, ii. 2, 4', v. 5. 

Mome (fool), Comedy of Errors, Hi. 1. 

Momentany (an old form of momentary), Midsummer-Night's 
Dream, i. 1. 

Monarcho, Love's Labour's Lost, iv. 1. The nickname of an 
Italian, a fantastic character of the time. 

Monarchs, high-arched gates of, Cymbeline, Hi. 3 ; King John, 
Hi. 1. See Kings. 

Monasteries, to pay the cost of war, King John, i. 1 ; Hi. 3. 



232 INDEX TO SHAKSPERE'S WORKS. 

Money, all ways lie open for, Merry Wives of Windsor, ii. 2 ; 
marrying for, Merry Wives of Windsor, Hi. 4; Taming of the 
Shrew, i. 2 ; love of, All's Well that Ends Well, iv. 3, " Sir, for a 
quart d'ecu," etc.; Richard II, ii. 2, "Their love lies in their 
purses," etc. ; raised by farming the realm, Richard II, i. 4; gained 
by vile means, Julius Ccesar, iv. 3 ; power of, Timon of Athens, iv. 
3 ; put, in thy purse, Othello, i. 3 ; despised, Cymbeline. Hi. 6. See 
also Gold. 

Monks, are not made by hoods, Twelfth Night, i. 5; Henry 
VIII, Hi. 1. 

Monmouth, Henry of. See Henry V. 

Monmouth, compared to Macedon, Henry V., iv. 7. 

Monster(s), a shallow, weak, credulous, The Tempest, ii. 2 ; of 
the sea, Merchant of Venice, Hi. 2 ; Coriolanus, iv. 2 ; in love with 
a, Midsummer-Nighfs Dream, Hi. 2. 

Montacute. See Salisbury. 

Montacute, Henry Pole, Lord, Henry VIII, i. 1. Son-in-law 
of Abergavenny, brother of Cardinal Pole. He was executed in the 
reign of Henry VIII. on another charge than the one here spoken of. 

Montague, John Neville, Marquis of, character in III. Henry 
VI, introduced in ♦. 1. He was a partisan of the House of York, 
but followed his brother, Warwick, to the other side. His death 
is described in v. 2. 

Montague, and Lady Montague, father and mother of Romeo, 
introduced in i. 1. 

Montaigne, Michel, a French author, 1533-1592. Gonzalo's 
ideal commonwealth, The Tempest, ii. 1, is after Montaigne. 

Montano, governor of Cyprus, character in Othello, introduced 
in ii. 1. 

Montgomery, Sir John, character in III. Henry VI, introduced 
in iv. 7. His name should be given Thomas. He was a favourite of 
Edward IV., and one of his most intimate friends and advisers. 

Month's mind, a, Two Gentlemen of Verona, i. 2. Strong 
desire, a proverbial expression, of doubtful origin. 

Montjoy, a French herald in Henry V., first appears in Hi. 6, 
playing a quite important part. " Montjoie " was the battle-cry of 
the French. 

Monument, a, in verse, Sonnets Iv., Ixxxi., cvii. ; a living, Ham- 
let, v. 1 ; goodness and he shall fill up one, Henry VIII, ii. 1. 

Monument, the, at Alexandria, Antony and Cleopatra, iv. 11 
and 13, or 13-15 ; v. 2. 



INDEX TO SHAKSPERE'S WORKS. 233 

Moods, must be indulged, Much Ado about Nothing, i. 3 ; of 
Jaques, As You Like It, ii. 1. 

Moon, the, the man in, The Tempest, ii. 2 ; controlled by a 
witch, The Tempest, v. 1; like a silver bow, Midsummer-Night's 
Dream, i. 1 ; diseases caused by, Midsummer- Night's Dream, ii. 1 ; 
creep through the earth's centre, Midsummer-Night's Dream, iii. 2 ; 
the watery star, A Winter's Tale, i. 2 ; the sea governed by, I. Hen- 
ry IV., i. 2 ; envious, Romeo and Juliet, ii. 2 ; change like, Timon 
of Athens, iv. 3 ; a drop from, distilled by witchcraft, Macbeth, iii. 
5 ; eclipse of, portentous, Macbeth, iv. 1 ; Antony and Cleopatra, iii. 
13 ; Hamlet, i. 1 ; to revisit the glimpses of, Hamlet, i. 4 ; error of 
(lunacy caused by), Othello, v. 2 ; mistress of melancholy, Antony 
and Cleopatra, iv. 9 ; visiting, Antony and Cleopatra, iv. 13 or 15 ; 
fleeting, Antony and Cleopatra, v. 2 ; eclipses of, King Lear, i. 2 ; 
conjuring, King Lear, ii. 1; age of, Love's Labour's Lost, iv. 2. 

Moon-calf, The Tempest, ii. 2 ; iii. 2. A monster supposed to 
be formed under the moon's influence. 

Moonlight, sleeping, Merchant of Venice, v. 1. 

Moons, five, King John, iv. 2. 

Moonshine, a character in the interlude in Midsummer-Night 's 
Dream, v. 1, taken by Starveling, the tailor. 

Moonshine, fairies in, The Tempest, v. 1. 

Moorditch, I. Henry IV., i. 2. A part of the ditch about Lon- 
don, spread to an unwholesome morass, and therefore shunned and 
melancholy. 

Moorfields, Henry VI1L, v. 4. The train-bands were drilled 
there. 

Moors, changeable in their wills, Othello, i. 3. 

Mopsa, a shepherdess in A Winter's Tale, iv. 4. 

Mordake, Earl of Fife, mentioned in I. Henry IV. as one of the 
prisoners taken by Hotspur. It was Murdach Stuart. 

More, Sir Thomas, Henry VIII., iii. 2. Lord Chancellor of Eng- 
land, born 1480, executed 1535. 

Morgan. See Belarius. 

Morisco, II. Henry VI, iii. 1. Name applied to the Moors left 
in Spain after the fall of Granada. 

Morning, The Tempest, v. 1 ; Much Ado about Nothing, v. 3 ; 
Midsummer- Night's Dream, iii. 2, " For night's swift dragons," etc. ; 
1. Henry VI, ii. 2 ; III. Henry VI, ii. 1 ; Richard III., v. 3 ; Ro- 
meo and Juliet, i. 1 ; ii. 3 ; iii. 5 ; Hamlet, i. 1, 5 ; song on, Cymbe- 
line, ii. 3 ; Venus and Adonis, lines 2, 853 ; Sonnet xxxiii. ; Pas- 



234: INDEX TO SHAKSPERE'S WORKS. 

sionate Pilgrim, xv. ; King John, Hi. 3 ; Troilus and Cressida, iv. 
2 ; Julius Ccesar, ii. 1 ; Antony and Cleopatra, iv. 4- 

Morocco, the Prince of, one of the suitors of Portia in the Mer- 
chant of V.nice, appears in ii. 1 and 7, and chooses the golden 
casket. 

Morris, All's Well that Ends Well, ii. 2 ; Henry V., ii. 4. A 
dance, in which the characters were generally Robin Hood, Maid 
Marian, Little John, Scarlet, Stokesley, the Fool, and Tom the Piper. 

Morris, nine men's, Midsummer-Nigh fs Dream, ii. 1. A square 
of sod marked into squares like a chess-board for a game. 

Morris-pike (Moorish pike), Comedy of Errors, iv. 3. 

Morrow, never shall sun that, see, Macbeth, i. 5. 

Mortality, As You Like It, ii. 7, "And so from hour to hour," 
etc. ; King John, v. 7, " When this was now a king," etc. ; Sonnet 
Ixv. ; this muddy vesture of decay, Merchant of Venice, v. 1; if 
knowledge could have been set up against, All's Well that Ends 
Well, i. 1. See Death, Life. 

Mortals, thoughts beyond, Hamlet, i. 4> 

Mort Dieu ! (God's death), II. Henry VI, i. 1. 

Mortimer, Edmund, Earl of March, character in I. Henry IV., 
introduced in Hi. 1, Glendower's son-in-law. In i. 1, his capture by 
Glendower is spoken of, and in i. 3 Hotspur vows to 

" lift the down-trod Mortimer 
As high i' the air as this unthankful king." 

The Mortimer that was Earl of March was in reality not the one 
that was Glendower's son-in-law. The latter was Sir Edmund Mor- 
timer, uncle of the young Earl of March, who had a claim to the 
crown, and is the Earl of March in I. Henry VI. Mortimer in the 
play is a rather contemptible character, unwilling to do anything for 
himself, and basely failing at the critical moment. 

Mortimer, Edmund, Earl of March, character in I. Henry VI, 
first appears in ii. 5. He was not kept in confinement during the 
reign of Henry V., but held high honours under him, and went with 
him to the wars in France. He was made Lord Lieutenant of Ire- 
land in 1422, and died at Trim Castle in 1424 

Mortimer, Lady, daughter of- Owen Glendower, character in J. 
Henry IV., introduced in Hi. 1. She can speak no English, Morti- 
mer no Welsh, and Glendower interprets, while Hotspur ridicules 
the absurd love-scene. 

Mortimer of Scotland, Lord, 1. Henry IV., Hi. 2. Perhaps 
George Dunbar, Earl of March in Scotland. 



INDEX TO SHAKSPERE'S WORKS. 235 

Mortimer, Sir Hugh and Sir John, uncles of York in III. 
Henry VI, introduced in i. 2. 

Mortimer, John, the Duke of York's plan for having Jack Cade 
assume the name of, II. Henry VI, Hi. 1. History does not impute 
to York any such connection with Cade's plot. 

Mortimers, claim of the, to the throne, I. Henry VI, ii. 5. 

Mortimer's Cross, scene of III Henry VI, ii. 1. A battle was 
fought there February 2, 1461, between the Yorkists under Edward, 
Duke of York, afterward Edward IV., and the Lancastrians under 
the Earl of Pembroke, with victory to York. 

Morton, a retainer of Northumberland, in II Henry IV, first 
appears in i. 1. 

Morton, John, Bishop of Ely. See Ely. 

Mot (word, motto), Lucrece, I. 830. 

Moth, a fairy in the Midsummer-Night's Bream, Hi. 1. 

Moth, an airy, saucy, witty, little page serving the pompous 
Spaniard in Love's Labour's Lost, introduced in i. 2. The word was 
pronounced " Mote." 

Mother, grief of a, King John, Hi. 4 * IH< Henry VI, v. 5 ; 
ambition of a, Coriolanus, i. 3 ; one, pleading for her son, Titus 
Andronicus, i. 1 or 2 ; and her child, Richard II, Hi. 2; I. Henry 
VI, Hi. 3 ; Julius Cazsar, Hi. 1 ; Macbeth, i. 7. 

Motion, things in, catch the eye, Troilus and Cressida, Hi. 3. 

Motion (puppet-show), Two Gentlemen of Verona, ii. 1 ; A Win- 
ter's Tale, iv. 2. 

Motley, to wear, in the brain, Twelfth Night, i. 5 ; motley- 
minded, As You Like It, v. 4. 

Mouldy, a recruit, character in II Henry IV., Hi. 2. 

Mountain, the apparition of a hound, The Tempest, iv. 1. 

Mountaineers, dew-lapped like bulls, The Tempest, Hi. 3. 

Mountains, far off, Midsummer- Night's Dream, iv. 1 ; firmness 
of, Taming of the Shrew, ii. 1 ; As You Like It, Hi. 2 ; King John, 
ii. 2. 

Mountanto, or Montanto, Signior, a name applied to Bene- 
dick by Beatrice, meaning that he was a great fencer, or professed 
to be, Much Ado about Nothing, i. 1. 

Mourning, excessive, Twelfth Night, i. 1, 2, 5 ; All's Well that 
Ends Well, i. 1 ; Hamlet, i. 2. 

Mouse, the most magnanimous, II. Henry VI, Hi. 2 ; in ab- 
sence of the cat, Henry V., i. 2. ; Coriolanus, i. 6. 

Mouse-trap, the, Hamlet, Hi. 2. Applied to the play he brings 
21 



^v 



w* 



236 INDEX TO SHAKSPERE'S WORKS. 

forward, because it was designed to entrap the king into the betrayal 
of his guilt. 

Mouth, a beautiful, Venus and Adonis, lines 451, 504. 

Mouthing, by actors, Samlet, Hi. 2. 

Mowbray, Lord Thomas, character in II. Henry IV., first ap- 
pears in *. 3. He is on the side opposed to the king. 

Mowbray. See Norfolk. 

Moyses, an outlaw metioned in the Two Gentlemen of Verona, 
v. 2. 

Much Ado about Nothing, a comedy first published in 1600, 
and probably written in that or the previous year. The plot, so far 
as regards Hero and Claudio, had already been used by Ariosto, in 
the story of Ariodante and Ginevra, in the fifth canto of " Orlando 
Furioso," by an English playwright, who dramatized Ariosto's story 
by Spenser in the " Faerie Queene," and by Bandello in his story 
" Timbreo di Cardona," translated by Belleforest into French. The 
last-named was probably the one used by Shakspere, who united with 
the serious plot the parts of Benedick and Beatrice. The scene is laid 
in Messina. Mr. White thinks that a pun is intended in the title of 
the play on noting and nothing, pronounced very much alike in 
Shakspere's time. The people in the play make much ado about 
noting — that is, watching one another — while at the same time much 
ado is made about the scandal regarding Hero, which rests on a basis 
of nothing. This is one of the most popular of the comedies, both 
for reading and for stage representation. 

Mugs, a carrier in /. Henry IV., ii. 1. 

Mulier (woman), from the Latin mollis aer (gentle air), Cymbe- 
line, v. 5. This fanciful etymology is said to have been a favourite 
notion in Shakspere's time. 

Mulmutius, first king of Britain, Cymbeline, Hi. 1. 

Multitude, the, rumour among, II. Henry IV., induction; 
fickleness of, II. Henry IV., i. 3 ; affections of, in their eyes, Ham- 
let, iv. 3, or v. 7 ; the fool, Merchant of Venice, ii. 9; many-headed, 
Coriolanus, ii. 3. 

Mummy, dyed in (in spicy liquor from mummies, supposed to 
have magic or medicinal virtue), Othello, Hi. 4,' the witches', Mac- 
beth, iv. 1. 

Munificence, Love's Labour's Lost, Hi. 1, " The best ward of 
mine honour is rewarding my dependents." 

Murder, sin of, Measure for Measure, ii. 4 ; for love, Twelfth 
Night, ii. 1 ; see Superstition ; suggestion of — of kings, A Winter's 



INDEX TO SHAKSPERE'S WORKS. 237 

Tale, i. 2 ; of Arthur — excuses for, King John, iv. 2 ; nature's aid to 
punish— crest of, King John, iv. 3 ; accusation of, Richard II., i. 1; 
of a deposed king, Richard II, v. 5 ; reward for, at a king's in- 
stance, Richard II, v. 6 ; sentence for, Timon of Athens, Hi. 5 ; of 
Duncan, the: first suggested to Macbeth, i. 3 ; to Lady Macbeth, i. 
5 ; planned, i. 7 ; accomplished, ii. 3 ; of the guards, Macbeth, ii. 3 ; 
of Banquo — will out, Macbeth, Hi. 4 ; in old times, Macbeth, Hi. 4 ; 
most foul, Hamlet, i. 5 ; will speak, Hamlet, ii. 2 ; a brother's, Ham- 
let, Hi. 3 ; during prayer, Hamlet, Hi. 3 ; no place should sanctu- 
arize, Hamlet, iv. 7 ; evidences of, II Henry VI, Hi. 2; against 
God's law, Richard III, i. 4; ruthless, Richard III, iv. 3 ; of Des- 
demona, thought sacrifice, Othello, v. 2 ; command to, Cymbeline, 
Hi. 2, 4. 

Murderer(s), of Clarence in Richard III, i. 3 and 4 ; fears of a, 
Macbeth, ii. 1 ; of Banquo, Macbeth, Hi. 1, 3, 4 ; of Macduff's chil- 
dren, Macbeth, iv. 2 ; of the princes, Richard III, iv. 3 ; of Arthur, 
King John, iv. 2 ; of the king, Richard II, v. 6 ; denunciation of, 
III Henry VI, v. 5 ; pardon of, Romeo and Juliet, Hi. 1. 

Murdering-piece, Hamlet, iv. 5 or 2. A small piece of artil- 
lery often used on ships. 

Murder of Gonzago, Hamlet, ii. 2. The play selected by 
Hamlet for the actors. 

Mure (wall), II. Henry IV., iv. 4. 

Murray, Thomas Dunbar, Earl of, I Henry IV., i. 1. 

Muscles, fresh-brook, The Tempest, i. 2, 

Muscovites (Russians), Love's Labour's Lost, v. 2. 

Muse, the. See Poetry. 

Muse (to wonder), Two Gentlemen of Verona, i. 3, and elsewhere. 

Muses, the thrice three. See Greene, Robert. 

Musets (openings in hedges), Venus and Adonis, I. 683. 

Mushrooms, made by fairies, The Tempest, v. 1. 

Music, effects of, The Tempest, i. 2 ; iv. 1; magic, The Tem- 
pest, Hi. 2 ; power of, Two Gentlemen of Verona, Hi. 2 ; Much Ado 
about Nothing, ii. 3 ; a mermaid's, Midsummer-Night's Dream, ii. 
1; by fairies, Midsummer-Night's Dream, ii. 3; Hi. 1; broken 
(ribs), As You Like It, i. 2 ; at a marriage, As You Like It, v. 4 ,' 
charm of, As You Like It, iv. 1; fading in, Merchant of Venice, 
Hi. 2 ; a soul without, Merchant of Venice, v. 1 ; design of, Taming 
of the Shrew, Hi. 1 ; the food of love, Twelfth Night, i. 1 ; without 
time, Richard II, v. 5 ; a composer of, I. Henry IV., Hi. 1 ; for the 
sick, II Henry I V., iv. 5 ; charm of, Henry VIII, Hi. 1, song ; dis- 



238 INDEX TO SHAKSPERE'S WORKS. 

cordant when it calls to parting, Romeo and Juliet, iii. 5 ; doth lend 
redress, Romeo and Juliet, iv. 5 ; for lovers, Antony and Cleopatra, 
ii. 5 ; in the air, Antony and Cleopatra, iv. 3 ; a master of, Pericles, 
ii. 5 ; of the spheres, Pericles, v. 1 ; Merchant of Venice, v. 1 ; at 
a burial, Cymbeline, iv. 2; family happiness like, Sonnet viii. ; 
the player, Sonnet exxviii. ; and poetry, Passionate Pilgrim, viii. ; 
stopped for the love of music, Othello, Hi. 1. 

Musicians, characters in Romeo and Juliet and in Othello. 

Music to hear, why hear'st thou music sadly ? Sonnet 
viii. 

Muss (scramble), Antony and Cleopatra, Hi. 13. 

Mustard. See Tewksbury Mustard. 

Mustard-seed, a fairy in the Midsummer - Night's Dream, 
Hi. 1. 

Mutability, of earthly things, II. Henry IV., iii. 1; Romeo 
and Juliet, iv. 5 ; Hamlet, iii. 2 ; iv. 5 ; v. 1. See Time. 

Mutius, character in Titus Andronicus, son of Titus, enters in 
i. 1 or 2, is stabbed by his father in the same scene, and dies. 

Mutton, a laced (wanton), Two Gentlemen of Verona, i. 1; 
Measure for Measure, iii. 2. 

Muzzle, trusted with a, Much Ado about Nothing, i. 3. 

My flocks feed not, Passionate Pilgrim, xviii. 

My glass shall not persuade me I am old, Sonnet xxii. 

My love is as a fever, Sonnet cxlvii. 

My love is strengthened, though more weak in seem- 
ing, Sonnet cii. 

My mistress' eyes are nothing like the sun, Sonnet exxx. 

Mystery, a, in the soul of state, Troilus and Cressida, iii. 3 ; 
of things, King Lear, v. 3. 

My thoughts do harbour, poem, Two Gentlemen of Verona t 
iii. 1. 

My tongue-tied muse in manners holds her still, Son- 
net Ixxxv. 

Naiads, The Tempest, iv. 1. 

Nail, one, drives out another, Two Gentlemen of Verona, ii. 4 / 
dead as nail in door, II. Henry IV., v. 3. See Proverbs. 

Name, a good, shamed by falsehood, Comedy of Errors, ii. 1; 
an enemy — what's in a, Romeo and Juliet, ii. 2 ; where lodges the, 
Romeo and Juliet, iii. 3 ; good, Othello, ii. 3 ; robbery of a good, 
iii. 3; Lucrece, 1.820. See also Reputation. 



INDEX TO SEAKSPERE'S WORKS. 239 

Names, forgetting of, King John, i. 1 ; comparison of, Julius 
Caesar, i. 2. 

Naples, Alonzo, King of. See Alonzo. 

Naples, Reignier, King of. See Reignier. 

Narbon, Gerard de, father of Helena in AIVs Well that Ends 
Well, mentioned in i. 1 ; ii. 1. 

Narcissus, Venus and Adonis, I. 161; Lucrece, I. 265; Antony 
and Cleopatra, ii. 5. A beautiful youth, who fell in love with his 
own image in a fountain. 

Nathaniel, Sir, a curate in Love's Labour's Lost, introduced in 
iv. 2, "a foolish, mild man, an honest man, look you, and soon 
dashed." 

Nation, a miserable, Macbeth, iv. 3. 

Nature, requires interest for her gifts, Measure for Measure, i. 
1 ; office of, As You Like It, i. 2; sale- work of, As You Like It, Hi. 
5; brings together what Fortune separates, All's Well that Ends 
Well, i. 1, end; will betray folly, A Winter's Tale, i. 2; itself 
makes the art that improves it, A Winter's Tale, iv. 3 or 4, " Say 
there be," etc. ; gifts of, King John, Hi. 1 ; one touch of, Troilus 
and Cressida, Hi. 3; horrible places of, Titus Andronicus, iv. 1; 
bounteous housewife and common mother, Timon of Athens, iv. 3 ; 
goddess, King Lear, i. 2 ; foster-nurse of, King Lear, iv.4; redeems 
from curse, King Lear, iv. 6 ; needs of, King Lear, ii. 4 ; the sparks 
of, hard to hide, Cymbeline, Hi. 3 ; against fancy, Antony and Cleo- 
patra, v. 2 ; hath meal and bran, Cymbeline, iv. 2 ; a forger, Venus 
and Adonis, I. 728 ; lends, not gives, Sonnet iv.; bankrupt, Sonnet 
Ixvii. ; shows false art, Sonnet Ixviii. ; mistress over wrack, Sonnet 
cxxvi. ; labouring art can never ransom, All's Well that Ends Well, 
ii. 1 ; the products of, good or evil, according as they are applied, 
Romeo and Juliet, ii. 3. 

Naught awhile, be (be hanged to you ?), As You Like It, i. 1. 

Navarre, a province of Spain, once a kingdom, scene of Love's 
Labour's Lost. 

Nay-word, or aye-word (watch-word, countersign), Merry Wives 
of Windsor, ii. 2, and others ; by-word, Twelfth Night, ii. 3. 

Nazarite, the, Merchant of Venice, i. 2. Nazarene, Jesus. 

Neapolitan Prince, one of the suitors of Portia, mentioned in 
the Merchant of Venice, i. 2. 

Near-legged (starting with the left, or interfering), Taming 
of the Shrew, Hi. 2. 

Neat-slave (one to take care of neat cattle), King Ipht, ii. 2. 



240 INDEX TO SHAKSPERE'S WORKS. 

Nebuchadnezzar, All's Well that Ends Well, iv. 5. 

Necessity, virtue of, Two Gentlemen of Verona, iv. J ; honour 
hidden in, Merry Wives of Windsor, ii. 2 ; the fairest grant, Much 
Ado about Nothing, i. 1 ; plea of, Love's Labour's Lost, i. 1 ; AWs 
Well that Ends Well, i. 3, " He must needs go," etc. ; no virtue like, 
Richard II., i. 3 ; sworn brother to, Richard II, v. 1 ; Hamlet, v. 1, 
"The cat will mew," etc. ; sharp pinch of , King Lear, ii. 4; can 
make vile things precious, King Lear, Hi. 2. 

Nedar, father of Helena in Midsummer-Night's Dream, iv. 1. 

Need, and faith, King John, lii. 1. 

Negligence, fit for a fool to fall by, Henry VIII, in. 2 ; dan- 
ger of, Troilus and Cressida, Hi. 3 ; omittance is no quittance, As 
You Like It, Hi. 5. 

Neif (fist), Midsummer-Niglit's Dream, iv. 1; II. Henry IV., 
ii. 4. 

Neighbour, a bad, is an outward conscience, Henry V., iv. 1. 

Ne intelligis (do you not understand f), Love's Labour's Lost, 
v.l. 

Nell, the fat cook in the Comedy of Errors, described in Hi. 2. 

Nemean lion, the, Love's Labour's Lost, iv. 1 ; Hamlet, i. 4. 
It was killed by Hercules. 

Nemesis, avenging goddess, I Henry VI, iv. 7. 

Neoptolemus, Troilus and Cressida. iv. 5. Incorrectly used as 
a name of Achilles. He was a son of Achilles. 

Neptune, The Tempest, i. 2 ; v. 1; A Winter's Tale, iv. 3 or 4; 
II. Henry IV., Hi. 1 ; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 
12 or 14; Midsummer- Night's Dream, ii. 2 ; would not flatter him 
for his trident, Coriolanus, Hi. 1; England his park, Cymbeline, 
Hi. 1. The god of the ocean. 

Nerissa, the waiting-maid of Portia in the Merchant of Venice, 
first appears in i. 2, a bright, pert imitator of Portia, somewhat re- 
sembling Lucetta in the Two Gentlemen of Verona. 

Nero (Emperor of Rome, born 37, died 68 a. d.), King John, v. 
2 ; I. Henry VI, i. 4 / HI Henry VI, Hi. 1 ; the soul of, Hamlet, 
Hi. 2. He is said to have murdered his mother ; an angler in the 
lake of darkness, King Lear, Hi. 6. See Smulkin. Lear was hun- 
dreds of years before Nero. 

Neroes, ye bloody, King John, v. 2. 

Nervii, the, Julius Caisar, Hi. 2. A tribe of the Belga?, the vic- 
tory over whom was one of Caesar's greatest achievements. 

Nessus, All's Well that Ends Well, iv. 3 ; Antony and Cleopa- 



INDEX TO SHAKSPERE'S WORKS. 241 

tra, iv. 10 or 12. A centaur killed by Hercules, who told Dejanira, 
the wife of Hercules, to save some of his blood for a charm with 
which to keep the love of Hercules. This she did, and afterward 
unwittingly poisoned him by using it on the robe sent for by him. 

Nestor, one of the Grecian generals, distinguished for his wis- 
dom and experience and his powers of persuasion. His name has 
become a synonym for the wisdom of ripe experience. He is intro- 
duced in i. 3 of Troilus and Cressida, and in the same scene Ulysses 
describes how Patroclus mimics the infirmities of age in him to 
amuse Achilles. Other allusions, Love's Labour's Lost, iv. 3 ; Mer- 
chant of Venice, i. 1; I. Henry VI, ii. 5 ; III Henry VI, Hi. 2 ; 
in a painting, Lucrece, I. 1401. 

Netherlands, the, Comedy of Errors, Hi. 2. 

Nettle, from the, danger, pluck the flower, safety, I Henry IV., 
ii. 3. 

Neville. See Warwick. 

Neville, Ralph. See Westmoreland. 

New, nothing, So?met lix. 

Newness, in authority, zeal of, Measure for Measure, i. 3. 

News, good and bad, Two Gentlemen of Verona, Hi. 1 ; resent- 
ment toward the bearer of, Much Ado about Nothing, ii. 1; the 
bearer of ill, King John, Hi. 1; II. Henry IV., i. 1; Macbeth, iv. 3 ; 
Antony and Cleopatra, i. 2 ; ii. 5 ; fitting to the night, King John, 
v. 6 ; bearer of good, 77. Henry IV., iv. h u Thou art a summer 
bird," etc.; impatience for, Romeo and Juliet, ii. 5; Hi. 2; bad, 
Cymbeline, Hi. 4>' of war, 77. Henry IV., i. 1; ii. 4,' of carnal, 
bloody, and unnatural acts, Hamlet, v. 2 ; King John, iv. 2 ; Julius 
C&mr, v. 3 ; wonderful, A Winter's Tale, v. 2 ; fresh, every minute, 
Antony and Cleopatra, Hi. 7 ; the bearer of strange, Macbeth, i. 2 ; 
stale, Hamlet, i. 5 ; old (great), Taming of the Shrew, Hi. 1. 

Nice (foolish or trivial), Taming of the Shrew, Hi. 1 ; Romeo and 
Juliet, v. 2. 

Nicholas, Saint, Two Gentlemen of Verona, Hi. 1 ; clerks of, 7. 
Henry IV., ii. 1. Robbers were so called. 

Nick (reckoning made by notches in sticks), out of all, Two Gen- 
tlemen of Verona, iv. 2. 

Nicks, like a fool (cuts his hair like a fool's or jester's), Comedy 
of Errors, v. 1. 

Night, beauty of a, Merchant of Venice, v. 1; makes the ear 
more quick, Midsummer-Night 's Dream, Hi. 2 ; time for fairies and 
ghosts, Midsummer-Night's Dream, v. 2, " Now the hungry lion," 



242 INDEX TO SHAKSPERE'S WORKS. 

etc.; for plotting crime, King John, Hi. 3 ; crimes in the, Richard 
11., Hi. 2; the tragic, II. Henry VI., iv. 1; sober-suited, Romeo 
and Juliet, Hi. 2 ; a dark, Macbeth, ii. 1, " There's husbandry in 
heaven ; " an unruly, Macbeth, ii. 3, 4 ,' description of, Macbeth, Hi. 
2 ; is long that, Macbeth, iv. 3 ; the witching time of, Hamlet, Hi. 
2 ; Lucrece, lines 117, 162, 764, 1081 ; wakefulness in the, Sonnet 
Ixi. ; imagination at, Sonnets xxvii., xxviii. ; unwelcome, Passionate 
Pilgrim, xv. ; the dragon- wing of, Troilus and Cressida, v. 9. See 
also Midnight. 

Night-crow, III. Henry VI., v. 6. 

Nightingale, the, Two Gentlemen of Verona, v. 4 ; Merchant of 
Venice, v. 1 ; Romeo and Juliet, Hi. 5 ; Midsummer- Night's Dream, 
i. 2 ; Taming of the Shrew, induction, 2 ; ii. 1 ; Twelfth Night, Hi. 
4 ; Antony and Cleopatra, iv. 8 ; King Lear, Hi. 6 ; Passionate Pil- 
grim, xxi. ; allusion to the belief that she sings with her breast 
against a thorn, Lucrece, I. 1135. 

Night-mare, the, King Lear, Hi. 4. 

Night-raven, Much Ado about Nothing, ii. 3. 

Nile, the, serpent of old, Antony and Cleopatra, i. 5 ; overflow- 
ing of, Antony and Cleopatra, ii. 7 ; presageth famine, Antony and 
Cleopatra, i. 2. 

Nine "Worthies, the. See Worthies. 

Ninny (Ninus), tomb of, Midsummer- Nights Dream, Hi. 1 ; v. 1. 

Niobe, all tears, Hamlet, i. 2 ; Troilus and Cressida, v. 2. She 
wept herself into stone for the loss of her children. 

No, meant for ay, Two Gentlemen of Verona, i. 2. 

Noah, Comedy of Errors, Hi. 2 ; Twelfth Night, Hi. 2 ; his ark, 
As You Like It, v. 4- 

Nobility, fearless, 77. Henry VI, iv. 1 ; loss of, Richard III, 
i. 3. See Blood, Eank. 

Noble, the, in adversity, Coriolanus, iv. 1. 

Nobleman, a, 111. Henry VI, Hi. 2. The king was taken by 
the servants of Sir James Harrington. 

Nobleman, as one should live, I. Henry IV, v. 4, end ; blood 
of a, compared with learning, Henry VIII. 

Nobleness, in the wilds, Cymbeline, iv. 2. 

Nobody, picture of, The Tempest, Hi. 2. A common sign. 

No longer mourn for me when I am dead, Sonnet Ixxi. 

No more be grieved at that which thou hast done, Son- 
net XXXV. 

No more dams I'll make for fish, song, The Tempest, ii. 2. 



INDEX TO SHAKSPERE'S WORKS. 243 

Nook-shotten (shut into a nook, or diversified with nooks), 
Henry V, Hi. 5. 

Noon, to bed at. See Proverbs, etc. 

Norbury, Sir John, is mentioned in Richard II, ii. 1, as one of 
the companions of Bolingbroke. Henry, after his accession, made 
him Governor of Guisnes and treasurer of the exchequer. 

Norfolk, Robert (correctly Roger) Bigot, Earl of. character in 
King John, introduced in iv. 3. He was one of the twenty-five 
barons opposed to John. 

Norfolk, Thomas Mowbray, Duke of, character in Richard II. 
He enters in the first scene, where he is unjustly accused of the mur- 
der of Gloucester, and challenged by Bolingbroke on that account. 
After their meeting, i. 3, he is sentenced by the king to perpetual 
exile, although he is a friend of the king, while Bolingbroke, whom 
the king hates and fears, receives but a limited term of banishment. 
His death at Venice, iv. 1. This occurred in 1400. His eldest son 
did not bear the title on account of the attainder, but was simply 
Lord Mowbray, under which name he appears in II. Henry IV. 
The title was, however, restored to the second son, John, and his 
grandson bears it in III. Henry VI. 

Norfolk, John Mowbray, Duke of, character in III. Henry VI., 
introduced in *. 1. He belongs to the York party. He was the last 
Mowbray that was Duke of Norfolk ; the title descended to the How- 
ards through his daughter, who married Sir Robert Howard, and her 
son, John Howard, is the Norfolk of Richard III. 

Norfolk, John Howard, Duke of, character in Richard III, first 
appears in v. 3. The incident in that scene of the warning rhyme 
placed on his tent the night before Bosworth is historical. He fell 
on Bosworth field, v. 5. He was the first Howard that became Duke 
of Norfolk ; he was also Earl Marshal of England ; both of which 
titles still remain in the Howard family. 

Norfolk, Thomas Howard, Duke of, character in Henry VIII, 
introduced in i. 1. He is an enemy of Wolsey. There were two 
Dukes of Norfolk during the time of this play. The first was the 
Surrey of Richard III, son of the Norfolk who fell at Bosworth. 
He died in 1524, and was succeeded by his son of the same name, 
the Earl of Surrey in this play. 

Normandy, the loss of, to England, II. Henry VI, iv. 7. 

Normans, the English, called, Henry V., Hi. 5. 

North, of opinion, the, Twelfth Night, Hi. 2. 

North, monarch of the. See Witchcraft. 



244 INDEX TO SHAKSPERE'S WORKS. 

Northampton, scene of a part of King John. 
Northumberland, Henry Percy, Earl of, a powerful nobleman, 
character in Richard II., introduced in it. 3, and in the two parts of 
Henry IV., introduced in i. 3 and in i. 1. He joins in rebellion 
against Richard with Bolingbroke, and, after helping to seat the 
usurper on the throne, joins in rebellion against him. At Shrews- 
bury he is " crafty-sick," and fails to go to the aid of his son and 
allies. In II. Henry IV. he again fails his allies, and the rebellion 
is quelled. Warwick says [Part II., Hi. 1] : 

" King Richard might create a perfect guess, 
That great Northumberland, then false to him, 
Would, of that seed, grow to a greater falseness." 

" It is Northumberland, now smooth and flexible, now rough and 
unfeeling, that first speaks of Richard with the omission of his title ; 
he it is that repeats more solemnly and forcibly the oath of Boling- 
broke that his coming is but for his own : he it is who, in the scene 
of deposition, maliciously torments Richard with the reading of his 
accusation ; and he it is who would arbitrarily arrest the noble Car- 
lisle for high treason after the outbreak of his feelings of right and 
his civic fidelity." — Gervinus. 

Northumberland, Lady, a character in II. Henry IV., appears 
in ii. 3 only. She was Hotspur's step-mother, the Lady Maud Lucy, 
who was the widow of the Earl of Angus before she married North- 
umberland. 

Northumberland, third Earl of, character in 111. Henry VI. 
introduced in i. 1. He is a Lancastrian. His father, who fell at the 
first battle of St. Alban's, was the son of Hotspur. This earl fell at 
Towton, March 29, 1461. 

Northumberland, the melancholy, Richard III, v. 3. 

Norweyan lord, the (Sweno, King of Norway), Macbeth, i. 2. 

Nose(s), an embellished, Comedy of Errors, Hi. 2 ; a good, is 
requisite, A Winter's Tale, iv. 3 ; twenty of the dog-days in a, Henry 
VIII, v. 3 ; why it is in the middle of the face, King Lear, i. 5 ; 
liberty (license) plucks justice by the, Measure for Measure, i. 4 ; 
to be led by the, Othello, i. 3 ; Heaven stops the, Othello, iv. 2 ; Bar- 
dolph's, see Bardolph ; Alexander's, see Alexander. 

Nose-bleed, the, ominous, Merchant of Venice, ii. 5. 

Not from the stars do I my judgment pluck, Sonnet xiv. 

Nothing, an infinite deal of, Merchant of Venice, i. 1 ; prologue 
to, All's Well that Eiids Well, ii. 1, " Thus he his special nothing 
ever prologues"; all the world is, A Winter's Tale, i. 2 ; can come 
of nothing, King Lear, i. 1. 



INDEX TO SHAKSPERE'S WORKS. 2-15 

No, Time, thou shalt not boast that I do change, Sonnet 
cxxiii. 

Not marble, nor the gilded monuments, Sonnet Iv. 

Not mine own fears, nor the prophetic soul, Sonnet cvii. 

Nott-pated (crop-headed), I. Henry IV, ii. 4. 

Novelty, in request, Measure for Measure, Hi. 2 ; Henry VIII, 
i. 3 ; Troilus and Cressida, Hi. 2, " All praise new-born gauds." 

Novem, or novum (a game at dice), Love's Labour's Lost, v. 2. 

Novi hominem, etc., Love's Labour's Lost, v. 1. I know the 
man as well as you. 

Nowl (head), Midsummer-Night's Bream, Hi. 2. 

Numbers, odd. See Odd Numbers. 

Nunnery, advice to enter a, Hamlet, Hi. 1. 

Nuns, life of, Midsummer-Night's Dream, i. 1 ; Measure for 
Measure, i. 5 ; Lover's Complaint, I. 232 ; As You Like It, Hi. 4. 

Nurse, character in Titus Andronicus, first appears in iv. 2, and 
is killed in the same scene. 

Nurse, Juliet's, in Romeo and Juliet, first appears in i. 3. She 
is coarse, garrulous, deceitful, and time-serving, first helping on the 
marriage of Juliet with Romeo, and then counselling her, after his 
banishment, to marry Paris, trusting to the chance of Romeo's never 
turning up again — a proposal that reveals her real baseness to Juliet, 
who calls her " ancient damnation." 

Nuthook (used by thieves to take things out of windows), Meas- 
ure for Measure, i. 1 ; (slang for bailiff), II. Henry I V., v. 4. 

Nutmeg, a gilt, Love's Labour's Lost, v. 2. A common gift. 

Nym, a character in the Merry Wives of Windsor and in Henry 
V., a corporal under Falstaff, and a great rogue. His conversation 
is marked by the use of " humour " as a catch-word. In Henry V. 
he appears in i. 1, in a quarrel with Pistol, and he is described by 
the boy in Hi. 2, and at the end of iv. 4, where he says that Bar- 
dolph and Nym are both hanged. His name is a word that means 
to filch, " Convey, the wise it call," as Pistol says in the Merry Wives 
of Windsor, i. 3. 

Nymphs, cold, The Tempest, iv. 1. 

O, this wooden, Henry IV., chorus to act i. This was the Globe 
Theatre, which was circular inside. This little 0, the earth, Antony 
and Cleopatra, v. 2 ; an without a figure, King Lear, i. 4 ; the 
stars, fiery Oes, Midsummer-Night's Dream, Hi. 2 ; so deep an, 
Romeo and Juliet, Hi. 3. 



246 INDEX TO SHAKSPERE'S WORKS. 

Oak, Jove's tree, The Tempest, v. 1 ; As You Like It, Hi. 2 ; an 
ancient, As You Like It, ii. J ; iv. 3 ; garland of, Coriolanus, i. 3 ; 
ii. 1, 2 ; Heme's, Merry Wives of Windsor, iv. 4 ; strength of, Meas- 
ure for Measure, ii. 2 ; Julius Caisar, i. 3 ; to hew down with rushes, 
Coriolanus, i. 1. See Herne. 

Oatcake, Hugh, mentioned in Much Ado about Nothing, Hi. 3. 

Oath(s), weakness of, The Tempest, iv. 1 ; his, are oracles, Two 
Gentlemen of Verona, ii. 7 ; lose our, to find ourselves, Love's La- 
bour's Lost, iv. 3, near end; Celia's, to make restitution, As You 
Like It, i. 2 ; not the many, that make the truth, AIVs Well that 
Ends Well, iv. 2; administered, J. Winter's Tale, Hi. 2 ; never to 
marry, A Winter's Tale, v. 1 ; obligation of, King John, Hi. 1 ; of 
vengeance, King John, iv. 3 ; of enemies not to be reconciled, Rich- 
ard II.. i.3 ; of the king. /. Henry IV., v. 1 ; a sin to keep sinful, 
II. Henry VI., v. 1 ; III. Henry VI., v. 1, " To keep that oath were 
more impiety than Jephthah's," etc. ; binding, III. Henry VI, i. 2 ; 
Henry's, III. Henry VI, ii. 2 ; needlessness of, Julius Caisar, ii. 1 ; 
on a sword, Hamlet, i. 5 ; no better than the word, Pericles, i. 2 ; 
deep, Sonnet clii ; are straws, Henry V., ii. 3 ; are in heaven, Mer- 
chant of Venice, iv. 1; stronger thnn Hercules in breaking, AIVs 
Well that Ends Well, iv. 3. See also Vows and Perjury. 

Oaths (exclamatory), face the matter out with, Taming of the 
Shrew, ii. 1 ; approve manhood, Twelfth Night, Hi. 4, " Go, Sir An- 
drew," etc. ; the right kind of, I. Henry IV., Hi. 1. 

Oaths and Exclamations: Richard III. swears by St. Paul, 
his favourite oath according to tradition {Richard III, i. 2, 3 ; Hi. 
4 ; v. 3), and " by my George " (iv. 4), that is, the figure of St. George 
on the badge of Knights of the Garter, though that was first used in 
the reign of Henry VII. A favourite exclamation with Henry VIII. 
was " Ha ! " frequently used in the play ; Hamlet swears by St. Pat- 
rick (*, 5), by our lady (ii. 2), and by the rood (Hi. 4) ; Polonius, by 
the mass (Hamlet, ii. 1) ; Parson Evans, by God's lords and his ladies, 
'od's (God's) plessed will, and the tevil and his tarn (Merry Wives of 
Windsor, i. 1) ; Mrs. Page, by the dickens (Merry Wives of Windsor, 
Hi. 2); Nym, by welkin and her star (i, 3)\ Dr. Caius, by gar (i. 4; 
Hi. 3) ; Shallow and Page, by cock and pie (Merry Wives of Wind- 
sor, i. 1; II. Henry IV, v. 1), possibly referring to the cock and 
magpie, a common alehouse sign; by cock, Taming of the Shreic, 
iv. 1 ; Hamlet, iv. 5 ; perdy (par Lieu), Comedy of Errors, iv. 4 »' 
Henry V., ii. 1; 's lid (by God's lid). Merry Wives of Windsor, Hi. 
4; Twelfth Night, Hi. 4; 'od's lifelings (God's dear life), Twelfth 



INDEX TO SHAKSPERE'S WORKS, 247 

Night, v. 1 ; by my halidom (holy dame, or holy dom, salvation?), 
Two Gentlemen of Verona, iv. 2 ; Taming of the Shrew, v. 2 ; Henry 
VII L, v. 1; Romeo and Juliet, i. 3 ; holy Mary, Henry VIII, v. 2 ; 
's death (God's death), Coriolanus, i. 1; by God's sonties (? sanc- 
tities), Merchant of Venice, ii. 2 ; 's blood (God's blood), I. Henry 
IV., i. 3 ; zounds (God's wounds), King John, ii. 2 ; I. Henry IV., 
i. 3 ; ii. 3 ; iv. 1 ; bodikins (little body). Merry Wives of Windsor, 
ii. 3 ; marry (supposed corruption of Mary), in numberless passages; 
rivo, a drinking exclamation of unknown meaning, I. Henry IV., 
ii. 4 ; by my hood (? manhood), Merchant of Venice, ii. 6 ; by the 
rood, Love's Labour's Lost, iv. 3 ; mort du vinaigre (a nonsensical 
expression, literally, death of the vinegar), All's Well that Ends Well, 
ii.3; darkness and devils — life and death, King Lear, i.4; ven- 
geance, plague, death, confusion — my breath and blood — death on 
my state, the blest gods, King Lear, ii. 4 >' by Cheshu (Jesu), King 
Henry V., Hi. 2 ; by Chrish (Christ), King Henry V., Hi. 2; by 
Apollo, King Lear, i. 1 ; by Jupiter, by Juno, King Lear, ii. 4; by 
two-headed Janus, Merchant of Venice, i. 1; by Pluto and hell, 
Coriolanus, i. 4; immortal gods, Taming of the Shrew, v. i; Me- 
hercle (? Hercules), Love's Labour's Lost, iv.2 ; the good year, Merry 
Wives of Windsor, i. 4 ; by St. Jeronimy, Taming of the Shrew, 
induction, 1; by St. Jamy, induction, 2 ; gramercies, Taming of the 
Shrew, i. 1; St. Denis to St. Cupid, Love's Labour's Lost, v. 2; 
'i fecks (fin effect) — grace to boot, A Winter's Tale, i. 2 ; by my fay 
(faith), Taming of the Shrew, induction, 2. 

Oats, wild, Hamlet, ii. 1. 

Ob (obolus, half-penny), 1. Henry IV., ii. 4. 

Obedience, to one's appointed work, Henry V., i. 2, " Therefore 
doth Heaven divide," etc. ; is for those that cannot rule, II. Henry 
VI, v. 1 ; princes love, Henry VIII, Hi. 1. See Disobedience. 

Oberon, king of the fairies, introduced in ii. 1 of Midsummer- 
Night's Bream. The name is French, from Alberon or Alberich, a 
fairy dwarf in old German poems. In French it became Auberich 
and Auberon. See Fairies. 

Obidicut, a fiend, King Lear, iv. 1. See Mahu. 

Oblivion, alms for, Troilus and Cressida, Hi. 3; formless 
ruins of, Troilus and Cressida, iv. 5 ; the gulf of, Richard III, 
Hi. 7. 

Observation, places crammed with, As You Like It, ii. 7 ; need 
of, in men of the time, King John, i. 1 ; prophecy from, II. Henry 
lV.,iii.l. 



248 INDEX TO SHAKSPERE'S WORKS. 

Obstinacy, in folly, A Winter's Tale, i. 2, " You may as well 
forbid," etc. 

call not me to justify the wrong, Sonnet xxxix. 

Occupation, necessary to enjoyment, I. Henry IV., i. 2, " If all 
the year," etc. ; Troilus and Cressida, i. 2, " Joy's soul lies in the 
doing ; " gone, Othello, Hi, 3. 

Ocean, encroachments of the. Sonnet Ixiv. 

Octavia, Antony's wife, character in Antony and Cleopatra, in- 
troduced in ii. 3 ; her marriage proposed by Agrippa, ii. 2 ; parting 
with Caesar, Hi. 2 ; described to Cleopatra, Hi. 3 ; attempts to recon- 
cile Antony and Caesar, Hi. 4 ; her appearance at Rome, Hi. 6. 

" The character of Octavia is merely indicated in a few touches, 
but every stroke tells. We see her ' with downcast eyes sedate and 
sweet, and looks demure,' with her modest tenderness and dignified 
submission — the very antipodes of her rival." — Mrs. Jameson. 

Octavius Caesar. . See G^esar. 

Oddity, in dress, Merchant of Venice, i. 2. 

Odd numbers, superstition about, Merry Wives of Windsor, v. 1. 

Odds, foolhardiness of taking great, Coriolanus, Hi. 1. 

Ods pittikins (God's dear pity), Cymbeline, iv. 2. 

Oeillades (glances), Merry Wives of Windsor, i. 3 ; King Lear, 
iv. 5. 

O'erlooked (bewitched), Merry Wives of Windsor, v. 5. 

O'erraught (overreached), Comedy of Errors, i. 2 ; (overtook), 
Hamlet, Hi. 1. 

Offence, a pardoned, may gall the innocent afterward, Measure 
for Measure, ii. 2 ; a man that is a general, All's Well that Ends 
Well, ii. 3 ; not a time to criticise every slight, Julius Cmsar, iv. 3 ; 
a rank, Hamlet, Hi. 3. 

Offender, sorrow of an, Sonnet xxxiv. 

Office, abuse of those in, Henry VIII., i. 2. See Authority, 
Greatness. 

Offices, sale of, Julius Casar, iv. 3. 

O for my sake do you with fortune chide, Sonnet cxi. 

O from what power hast thou this powerful might, Son- 
net cl. 

how I faint when I of you do write, Sonnet Ixxx. 

O how much more doth beauty beauteous seem, Sonnet 
liv. ■ - 

O how thy worth with manners may I sing, Sonnet 



INDEX TO SHAKSPERE'S WORKS. 249 

Old age. See Age. 

Oldcastle, Sir John, was the name first given to Falstaff, as it 
was the name of the character in the old play that furnished the 
hint for him. It was changed because it was taken to be intended 
for a real Sir John Oldcastle, who had been page to the Duke of 
Norfolk (said of Falstaff in II. Henry IV., Hi. 2), and was after- 
ward, as Lord Cobham, a Lollard or Wickliffite, who fell a martyr 
to his faith. The Protestants were scandalized and the Catholics 
gratified by the supposed portrait of the Lollard martyr. Shakspere 
then changed the name, and in the epilogue to II. Henry IV. says, 
speaking of Falstaff, " For Oldcastle died a martyr, and this is not 
the man." In I. Henry IV., i. 2, the prince calls him " my old lad 
of the castle." 

O lest the world should task you to recite, Sonnet Ixxii. 

Oliver, a character in As You Like It, elder brother of Orlando, 
appears in the first scene. " In this eldest son of the brave Rowland 
de Boys there flows the same vein of avarice and envy as in the duke. 
He strives to plunder his brother of his poor inheritance ; he under- 
mines his education and gentility ; he first endeavors to stifle his 
mind, and then he lays snares for his life ; all this he does from an 
undefined hatred of the youth who, he is obliged to confess, is ' full 
of noble device,' but who, for this very reason, draws away the love 
of all his people from Oliver to himself, and on this account excites 
his envious jealousy." On Orlando's saving his life, he " experiences 
a sudden change of heart, and proposes to give up all his possessions 
to Orlando, marry the supposed shepherdess Aliena, and live and 
die a shepherd." 

Olivers, I. Henry VI, i. 2. Oliver was one of Charlemagne's 
twelve peers. 

Olivia, character in Twelfth Night, introduced in i. 5, beloved 
by the duke, whom she rejects, and falls in love with his man Cesa- 
rio, who comes to urge his master's suit. She anticipates Priscilla 
Mullens by telling the ambassador: 

" But would you undertake another suit, 
I had rather hear you to solicit that 
Than music from the spheres." 

Olympian games, III. Henry VI, ii. 3 ; Troilus and Cres- 
sida, iv. 5. 

Olympus, Hamlet, v. 1; Coriolanus, v. 3 ; Titus Andronicus, 
ii. 1. The mountain of the gods. 

Omens, unnatural reasons, Midsummer-Night's Dream, ii. 2 ; 



250 INDEX TO SHAKSPERE'S WORKS. 

five moons, King John, iv. 2 ; of anarchy, Richard II. ii. 4; night- 
owls, Richard II.. Hi. 3 ; at Glendower's birth, I. Henry IV., Hi. 1; 
of evil, II. Henry IV., iv. 4 ; Gloucester's dream, II. Henry VI, i. 
2 ; at Richard's birth, III. Henry VI, v. 6 ; Stanley's dream, Rich- 
ard III, Hi. 2 ; a stumbling horse, Richard III, Hi. 4; a tempest 
after a treaty of peace, Henry VIII, i. 1 ; irregularity of planets, 
Troilus and Cressida, i. 3 ; Andromache's dream, Troilus and Cres- 
sida, v. 3 ; stumbling at graves, Romeo and Juliet, v. 3 ; dreams, 
Julius Caisar, i. 3 ; ii. 2 ; v. 1 ; the raven is hoarse that croaks, 
Macbeth, i. 5 ; the owl, Macbeth, ii. 2, 3 ; of death, Macbeth, ii. 3, 
4; the ghost — of Caesar's death, Hamlet, i. 1; swallows' building, 
Antony and Cleopatra, iv. 10 or 12 ; should have shown the death 
of Antony. Antony and Cleopatra, v. 1 ; of success, Cymbeline, iv. 
2, " Last night the very gods," etc. ; fear caused by, Venus and 
Adonis, I. 924; the three suns. See Suns. See also Dreams and 
Portents. 

O me what eyes hath love put in my head, Sonnet cxlviii. 

O mistress mine, song. Twelfth Night, ii. 3. 

Omittance, is no quittance, As You Like It, Hi. v. 

Omne bene (all well), Love's Labour's Lost, iv. 2. 

On a day, alack the day, Passionate. Pilgrim, xvii. 

One fair daughter, Hamlet, ii. 2. Part of an old ballad be- 
ginning: 

" I have read that many years agoe, 
When Jephtha, judge of Israel, 
Had one fair daughter and no moe." 

One, the number, Romeo and Juliet, i. 2 ; Sonnet cxxxvi., "Ono 
is no number." 

O never say that I was false of heart, Sonnet cix. 

Onions, to draw tears, Taming of the Shrew, induction, 1 ; AWs 
Well that Ends Well, v. 3, near end; Antony and Cleopatra, i. 3 ; 
iv. 2. 

Ooze, of the Nile, Antony and Cleopatra, ii. 7. 

Opal, thy mind is a very, Twelfth Night, ii. 4. 

Ophelia, heroine of Hamlet, introduced in i. 3 ; her madness, 
iv. 5 or 2 ; her death, iv. 7 or 4; burial, v. 1. 

" Whenever we bring her to mind, it is with the same exclusive 
sense of her real existence, without reference to the wondrous power 
that called her into life. The effect — and what an effect ! — is pro- 
duced by means so simple, by strokes so few and so unobtrusive, that 
we take no thought of them. It is so purely natural and unsophis- 
ticated, yet so profound in its pathos, that, as Hazlitt observes, it 



INDEX TO SHAKSPERE'S WORKS. 251 

takes us back to the old ballads ; we forget that, in its perfect art- 
lessness, it is the supreme and consummate triumph of art. ... As 
the character of Hamlet has been compared, or rather contrasted, 
with the Greek Orestes, being like him called on to avenge a crime 
by a crime, tormented by remorseful doubts, and pursued by distrac- 
tion, so, to me, the character of Ophelia bears a certain relation to 
that of the Greek Iphigenia, with the same strong distinction between 
the classical and the romantic conception of the portrait. Iphigenia 
led forth to sacrifice, with her unresisting tenderness, her mournful 
sweetness, her virgin innocence, is doomed to perish by that relent- 
less power which has linked her destiny with crimes and contests in 
which she has no part but as a sufferer ; and even so poor Ophelia, 
1 divided from herself and her fair judgment,' appears here like a 
spotless victim offered up to the mysterious and inexorable Fates." 
— Mrs. Jameson. 

Opinion, may be worn on both sides, like a leather jerkin, Troi- 
lus and Cressida, Hi. 3 ; if I bleed for my, I Henry VI, ii. 4 »' sov- 
ereign mistress of effects, Othello, i. 3 ; fool's gudgeon, Merchant of 
Venice, i. 1; a fool, Pericles, ii. 2; (dogmatism), Love's Labour's 
Lost, v. 1, " Learned without opinion ; " (reputation), lost, I. Henry 
IV., v. 4. 

Opinions, holding popular, II. Henry IV., ii. 2, " Never a man's 
thought/' etc.; golden, Macbeth, i. 7 ; caution in expressing, Ham- 
let, i. 3; influenced by conduct, Antony and Cleopatra, Hi. 11, 
"When we in our viciousness," etc.; new and dangerous, Henry 
VIII, v. 2; depend on one's own character, 7. Henry VI, v. 4; 
Sonnet cxxi. ; on the time, Coriolanus, iv. 7 ; there's nothing good 
or bad but thinking makes it so, Hamlet, ii. 2. 

Opportunity, The Tempest, i. 2, " I find my zenith," etc. ; to 
sin, Measure for Measure, ii. 1; King John, iv. 2 ; let slip, Twelfth 
Night, Hi. 1, " She did show," etc. ; Richard II, Hi. 2 ; III. Henry 
VI, iv. 8, " A little fire," etc. ; Julius Caisar, iv. 3, " There is a tide," 
etc. ; once lost, Antony and Cleopatra, ii. 7, " Who seeks and will 
not take when once 'tis offered," etc. ; guilt of, Lucrece, I. 876. See 
also Delay. 

Oppression. See Tyranny. 

Oppressors, league of, King John, Hi. 1. 

Oracle, I am Sir, Merchant of Venice, i. 1. 

Oracle, the Delphic, appealed to, A Winter's Tale, Hi. 1 ; the 
answer, Hi. 2 ; fulfilled, v. 2 ; of Jupiter, Cymbeline, v. 5. 

Oracles, ambiguous, II Henry VI, i. 4> 

Orator, I am no, Julius Caisar, Hi. 2 ; to play the, III Henry 
VI, i. 2 ; Hi. 2 ; Richard. Ill, Hi. 5. 



252 



INDEX TO SHAKSPERE'S WORKS. 



Oratory, popular, Coriolanus, Hi. 2. 

Orbs (orbits), Pericles, i. 2. 

Orchard (garden), Much Ado about Nothing, ii. 3 ; Romeo and 
Juliet, ii. 1. 

Order, results of disregard of, Troilus and Cressida, i. 3. 

Order and Dates of the Plays and Poems. The following 
table shows the dates of publication of the plays and poems, so far 
as is known, together with the order in which they were written and 
the dates of writing as nearly as can be determined from contem- 
porary allusions, the decisions of critics on internal evidence, etc. 
The more or less sparing use of rhyme is one of the chief tests, the 
earlier plays abounding in it much more than the later. 



Plays. Supposed date of writing. First publication. 


Titus Andronicus, 


1585-'90, 


1600 


Love's Labour's Lost, 


1588-'90, 


1598 


Comedy of Errors, 


1589-'93, 


1623 


Midsummer-Night's Dream, 


1590-'92 (1593-'94), 


1600 


Two Gentlemen of Verona, 


1590-'92 (1592-'93), 


1623 


I. Henry VI., 


1590-'92, 


1623 


II. and III. Henry VI., 


1590-'4 (worked over, 1600- 


'3), 1623 


Romeo and Juliet, 


1591-'93, revised 1596, 


1597 


Venus and Adonis, 


1592-'93, 


1593 


Lucrece, 


1593-'94, 


1594 


Richard II., 


1593-'97, 


1597 


Richard III., 


1593-'94, 


1597 


XA Lover's Complaint, 


1595-'97, 


1609 


Merchant of Venice, 


1594-'96, 


1600 


King John, 


1595-'96, 


1623 


Taming of the Shrew, 


1596-'97, 


1623 


I. Henry IV., 


159&-'98, 


1598 


11. Henry IV., 


1597-'99, 


1600 


Merry Wives of Windsor, 


1597-1601,- 


1602 


Sonnets, 


before 1598, 


1609 


Henry V., 


1599, 


1600 


Much Ado about Nothing, 


1598-1600, 


1600 


As You Like It, 


1599-1600, 


1623 


The Phoenix and the Turtle, 


1600, 


1601 


'Twelfth Night, 


1600-'l, 


1623 


Julius Caesar, 


1600-% 


1623 


All's Well that Ends Well, 


1601-3 (in present form), 


1623 



INDEX TO SHAKSPERE'S WORKS. 253 



Plats. 


Supposed date of writing. 


First publication. 


Hamlet, 


1600-'3, 




1604 


Measure for Measure, 


1603-'4, 




1623 


Othello, 


1604, 




1622 


King Lear, 


1605-'6, 




1608 


Antony and Cleopatra, 


1605-'8, 




1623 


Macbeth, 


1605-'9, 




1623 


Troilus and Cressida, 


1606-'8, 




1609 


Tiraon of Athens, 


1607-'10, 




1623 


Coriolanus, 


1607-'12, 




1623 


Pericles, 


1608, 




1609 


The Tempest, 


1610, 




1623 


Cymbeline, 


1610-'12, 




1623 


A Winter's Tale, 


1611, 




1623 


Henry VIII., 


1612-13, 




1623 


Ordinaries, AIVs Well that Ends Well, ii. 3. 


Meals at 


an ordi- 



nary or inn. 

Orgulous (proud). Troilus and Cressida, prologue. 

Original sin, A Winter's Tale, i. 2, " The imputation hereditary 
ours." 

Or I shall live your epitaph to make, Sonnet Ixxxi. 

Orisons, Henry V., iv. 2; III. Henry VI, i. 4; Romeo and 
Juliet, iv, 3 ; Hamlet, Hi. i; Cymbeline, i. 4. 

Orlando, hero of As You Like It, introduced at the beginning. 
He is foully wronged by his elder brother, who is jealous of his noble 
qualities and the love they gain for him, and, not satisfied with 
wronging him out of his patrimony, wishes to degrade him by neg- 
lect into a churl. " Throughout we see the healthful, self-contained, 
calm nature of a youth which promises a perfect man. . . . What a 
shaming contrast to the calumniator Jaques, whom he thus an- 
swers, when he invites him to rail with him against the deceitful 
world : ' I will chide no breather in the world but myself, against 
whom I know most faults ! ' " 

Orleans, Charles d'Angouleme, Duke of, character in Henry V., 
first appears in Hi. 7. He was taken prisoner at Agincourt, and was 
kept in the Tower for twenty-five years. His son reigned as Louis XII. 

Orleans, the Bastard of. character in I. Henry VI, spoken of in 
i. 1, first appears in i. 2. He was Count of Dunois and Longue- 
ville, and is known under the former name as one of the greatest 
soldiers of his time. 



254 INDEX TO SHAKSPERE'S WORKS. 

Orleans, siege of (1428-29), I. Henry VI, i. 1, 2, 4, 5; ii. 1. 

Ornament, the world deceived with, Merchant of Venice, 
Hi. 2. 

Ornaments, oft prove dangerous, A Winter's Tale, i. 2. 

Orodes, Antony and Cleopatra, Hi. 1. 

Orpheus, the lute of, Two Gentlemen of Verona, in. 2 ; legend 
of, Merchant of Venice, v. 1 ; song, Henry VIII, Hi. 1 ; playing of, 
Lucrece, I. 553. A traditionary poet, musician, and philosopher of 
Greece, whose skill at the lyre was such that the wild beasts of the 
forests gathered around him to hear his playing. In his grief at the 
loss of his wife, Eurydice, he determined to descend to Hades to 
induce the powers there to release her. The music of his lyre so 
charmed the deities of the lower world that they agreed to let Eu- 
rydice follow him to the upper world, on condition that he should 
not look back on her till they had passed the borders of Hades. But 
he could not keep the condition, and she vanished. 

Orsino, Duke of Illyria, character in Twelfth Night, introduced 
in the first scene, in love at first with Olivia after a sentimental and 
unconsciously insincere fashion, but of a refined and lovable nature — 
" Of great estate, of fresh and stainless youth, 
In voices well divulged, free, learned, and valiant." 

Orthography, rackers of. Love's Labour's Lost, v. 1. 

Ort(s) (scraps, leavings), Timon of Athens, iv. 3; Troilus and 
Cressida, v. 2. 

Or whether doth my mind, being crowned with you, 
Sonnet cxiv. 

Osprey, the, Coriolanus, iv. 7. Allusion to a supposed fascina- 
tion the osprey exercised over fish. 

Osric, a courtier, character in Hamlet, appears in v. 2. His 
affected manner, which is ridiculed by Hamlet and Horatio, is prob- 
ably a satire on the foppish gallants of Shakspere's own time. 

Ossa, Hamlet, v. 1. A mountain in Thessaly, one of those that 
the giants were said to have piled upon Olympus in their war with 
the gods, in order to reach heaven. 

Ostent (appearance, display), Merchant of Venice, ii. 2, 8. 

Ostentation, Love's Labour's Lost, v. 2 ; Coriolanus, i. 6 ; II. 
Henry IV., i%. 2 ; Hamlet, iv. 5; of mourning, Much Ado about 
Nothing, iv. 1. 

Ostrich, eat iron like an, II Henry VI, iv. 10. 

Oswald, the knavish steward of Goneril in King Lear, intro- 
duced in i. 3 ; Kent's opinion of him, ii. 2 ; his death, iv. 6. 



INDEX TO SEAKSPERE'S WORKS. 255 

"The only character of utter, irredeemable baseness in Shak- 
spere." — Coleridge. 

O that you were yourself, Sonnet xiii. 

Othello, is introduced in the second scene of the play ; his de- 
fence before the senate, i. 3 ; in Cyprus, ii. 1 ; his jealousy aroused, 
Hi. 3; confirmed, iv. 1; kills Desdemona and himself, v. 2. 

" He is of a free and noble nature, naturally trustful, with a kind 
of grand innocence, retaining some of his barbaric simpleness of soul 
in midst of the subtle and astute politicians of Venice. He is great 
in simple heroic action, but unversed in the complex affairs of life, 
and a stranger to the malignant deceits of the debased Italian char- 
acter." — Dowden. 

" The noblest man of man's making." — Swinburne. 

" Between Iago and Othello the position of Desdemona is precise- 
ly that defined with such quaint sublimity of fancy in the old Eng- 
lish by-word, ' Between the devil and the deep sea.' Deep and pure 
and strong and adorable always, and terrible and pitiless on occasion 
as the sea, is the great soul of the glorious hero to whom she has 
given herself : and what likeness of man's enemy, from Satan down 
to Mephistopheles, could be matched for danger and for dread 
against the good, bluff, soldierly, trustworthy figure of honest 
Iago f " — Swinburne. 

Othello, the Moor of Venice. This play was first published in 
1622, though it had been on the boards for years, and was a favour- 
ite play. The first authentic mention of it is in a diary kept by one 
Wurmsser, who was in the suite of the Duke of Wurtemberg when 
he visited England in 1610. The allusion to the new heraldry in 
Hi. 4 is to the new order of baronetage established by the king in 
1611, a red hand being on the arms of the order. But this may' 
have been introduced long after the play was written. It is gener- 
ally agreed that it is of the same period as Hamlet, Macbeth, and 
King Lear. The source whence Shakspere drew the outline of the 
plot and the name of the heroine was an Italian story by Giraldo 
Cinthio, published in 1565. The time of the play is the year 1570, 
when Cyprus was invaded by the Turks. 

" The picturesque contrasts of character in this play are almost 
as remarkable as the depth of the passion. The Moor Othello, the 
gentle Desdemona, the villain Iago. the good-natured Cassio, the 
fool Roderigo. present a range and variety of character as striking 
and palpable as that produced by the opposition of costumes in a 
picture." — Hazlitt. 

Othergates (otherwise). Twelfth Night, v. 1. 

O thou my lovely boy, Sonnet cxxvi. 

truant Muse, what shall he thy amends, Sonnet ci. 



256 INDEX TO SHAKSPERE'S WORKS. 

Otter, the, .neither fish nor flesh, I. Henry IV., Hi. 3. 

Ottomites, Othello, i. 3 ; ii. 3. Turks. 

Ouches (bosses of gold), II. Henry 1 V., ii. 4. 

Ouphes (elves), Merry Wives of Windsor, iv. 4 / v. 5. 

Ousel (blackbird), the, Midsummer-Night 's Dream, in. 1; II. 
Henry IV., in. 2. 

Outcast, an, Macbeth, Hi. 1 ; I. Henry 1 V., iv. 3. 

Outlaws, a band of, Two Gentlemen of Verona, iv. 1 ; v. 3. 

Outside, a fair, Romeo and Juliet, Hi. 2, " serpent heart," etc., 
Cymbeline, i. 1. 

Outward man, an, AWs Well that Ends Well, Hi. 1. One not 
in the secrets of state. 

Overdone, Mistress, a procuress in Measure for Measure, intro- 
duced in i. 2. 

Ovid, allusions to his story of Philemon and Baucis entertaining 
Jove in their thatched cottage, Much Ado about Nothing, ii. 1 ; As 
You Like It, Hi. 3 ; as Ovid be an outcast, Taming of the Shrew, i. 
1 ; Metamorphoses of, Titus Andronicus, iv. 1 ; quotations from, 
Taming of the Shrew, Hi. 1; Hie ibat, etc., Venus and Adonis, 
motto ; Love's Labour's Lost, iv. 2. 

Owe (own), AWs Well that Ends Well, ii. 1, 5 ; King John, ii. 1; 
Macbeth, i. 4 ; Antony and Cleopatra, iv. <S, and elsewhere. 

Owl, the, The Tempest, v. 1, song ; Love's Labour's Lost, v. 2, 
song ; allusion to the superstition that it sucks the blood of infants 
and changes the favour of children, Comedy of Errors, ii. 2 ; of evil 
omen, Jlidsummer-Nighfs Dream, v. 1; I.Henry VI., iv. 2; II. 
Henry VI., Hi. 2 ; III. Henry VI, ii. 6 ; v. 6; Richard III, iv. 4; 
Julius Cmsar, i. 3 ; Macbeth, ii. 2 ; ii. 4 ,' Richard II., Hi. 3 ; Titus 
Andronicus, ii. 3 ; Lear, ii. 4 >' mocked at by day, III. Henry VI, 
v. 4 ; was a baker's daughter, Hamlet, iv. 5 ; allusion to the story 
that a baker's daughter reproved her father for giving bread to 
Christ, crying, " Heugh ! heugh ! " in derision, and was turned into 
an owl as a judgment. An owlet's wing was placed in their cauldron 
by the witches, Macbeth, iv. 1. 

Oxford, John de Vere, thirteenth Earl of, character in III. Hen- 
ry VI. and in Richard HI, an adherent of the House of Lancaster, 
and one of the most powerful supporters of Richmond. In Rich- 
ard III, ii. 1, he is spoken of as having been at Tewksbury, as he 
was not in reality, having fled to France after the battle of Barnet. 
He afterward seized St. Michael's Mount in Cornwall, was besieged, 
taken, and imprisoned at Hamnes Castle in Picardy, 777. Henry VI, 



INDEX TO SHAKSPERE'S WORKS. 257 

v. 5. He went with the governor of the castle to join Richmond, 
and fought for him at Boswortb. Henry VII., with whom he was 
high in favour, bestowed various offices upon him. He is introduced 
in Hi. 3 of the former play ; v. 2 of the latter. His father and broth- 
er were attainted and beheaded on the accession of Edward IV. He 
speaks of it in Hi. 3. 

Oxford University, Henry VIII., iv. 2. 

Oxlips, A Winter's Tale, iv. 3 or 4; Midsummer-Night's Dream, 
ii. 2. 

Oyster, the world's my, Merry Wives of Windsor, ii. 2. There 
was a saying, " The Mayor of Northampton opens oysters with his 
dagger." Canst tell how an oyster makes his shell, King Lear, i. 5 ; 
love may transform me to an, Much A do about Nothing, ii. 3 ; this 
treasure of an, Antony and Cleopatra, i. 5 ; as much as an apple 
doth resemble an oyster, Taming of the Shrew, iv. 2; off goes his 
bonnet to an oyster-wench, Richard II., i. 4- 

Pace, Doctor Richard, Henry VIII, ii. 2. He was Vicar of 
Stepney, and one of Wolsey's secretaries. 

Packing (plotting), Taming of the Shrew, v. 1, and else- 
where. 

Pacorus, son of Orodes, King of Parthia, killed by Ventidius, 
Antony and Cleopatra, Hi. 1. 

Paddock, the toad, Macbeth, i. 1. Toads as well as cats were 
familiars of witches. 

Padua, Italy, scene of the Taming of the Shrew ; called the 
nursery of arts, i. 1. 

Pagan(s), I. Henry IV., ii. 3 ; II. Henry IV, ii. 2; Henry 
VIII, i. 3 ; most beautiful, Merchant of Venice, ii. 3. 

Page, a, in Richard III, iv. 2, supposed to be John Green, who 
was rewarded for his share in the murder of the princes by the re- 
ceivership of the lordships of Porchester and the Isle of Wight. 

Page, Anne, character in the Merry Wives of Windsor, intro- 
duced in i. 1. She has seven hundred pounds left her by her grand- 
father, and is sought by three suitors — one favoured by her father, 
one by her mother, and the third by herself. 

Page, George, character in the Merry Wives of Windsor, intro- 
duced in i. 1. Unlike Ford, he has confidence in his wife. They 
are both outwitted by their daughter, who marries Fenton while 
they are trying to outwit each other and marry her, the one to Doc- 
tor Caius, the other to Slender. 



258 INDEX TO SHAKSPERE'S WORKS. 

Page, Mistress, one of the Merry Wives of Windsor. See Ford, 
Mistress. 

Page, "William, a school-boy in the Merry Wives of Windsor, 
examined in Latin by Parson Evans in iv. 1. 

Pageant(s), As You Like It, ii. 7 ; Hi. 4 ; Richard III., iv. 4 ; 
of spirits, 2 he Tempest, iv. 1 ; of clouds, Antony and Cleopatra, iv. 
12 or 14; Two Gentlemen of Verona, iv. 3 ; Troilus and Cressida, 
iv. 3 ; Othello, i. 3. The pageants were a kind of play like that of 
the Nine Worthies in Love's Labour's Lost. 

Pages, characters in, As You Like It, Taming of the Shrew, and 
Romeo and Juliet. 

Paid, he is well, that is well satisfied, Merchant of Venice, 
iv. 1. 

Pain(s), delights that are purchased with. Love's Labour's Lost, 
i. 1 ; one lessened by another, Romeo and Juliet, i. 2 ; pays for every 
treasure, Lucrece, I. 334. 

Painted cloth (tapestry), As You Like It, Hi. 2 ; Love's La- 
bour's Lost, v. 2 ; Lazarus in the, I. Henry IV., iv. 2 ; maxims on, 
Lucrece, I. 245. See also Tapestry. 

Painter, a, character in Timon of Athens, introduced in the first 
scene, where he is seeking patronage from Timon. In v. 1, having 
heard that Timon has found a treasure, he returns to flatter him. 

Painter, mine eyes have played the, Sonnet xxiv. 

Painting, Taming of the Shrew, induction, i. ; praise of a, Ti- 
mon of Athens, i. 1 ; of the siege of Troy, Lucrece, I. 1368. 

Painting, of the skin, Cymbeline, Hi. 4 ,' Timon of Athens, iv. 
3 ; Hamlet, Hi. 1. 

Pajock (peacock), Hamlet, Hi. 2. The peacock had a reputation 
for evil passion as well as vanity. 

Palabras (words), Much Ado about Nothing, Hi. 4- 

Palace, full of tongues, etc., Titus Andronicus, ii. 1. 

Palaces, gorgeous, The Tempest, iv. 1. 

Palatine, the Count, one of the suitors of Portia, mentioned in 
the Merchant of Venice, i. 2. 

Pale (encircle), III. Henry VI., i. 4- 

Pallas, Minerva, goddess of wisdom, Titus Andronicus, iv. 1. 

Palliament, Titus Andronicus, i. 1 or 2. The robe worn by 
the candidate, who was so called from candidus, white, its colour. 

Palm, an itching, Julius Cossar, iv. 3. 

Palmer(s), All's Well that Ends Well, Hi. 5; Richard II, Hi. 
3 ; II. Henry VI, v. 1 ; Romeo and Juliet, i. 5. 



INDEX TO SHAKSPERE'S WORKS. 259 

Palmistry, Merchant of Venice, ii. 2, Launcelot's speech ; 
Othello, Hi. 4 ; Antony and Cleopatra, i. 2. 

Pandarus, a character in Troilus and Cressida, uncle of the lat- 
ter, introduced in i. 1. His office was the origin of the noun pan- 
der. In Hi. 2, at the end, he says, " Let all goers-between be called 
to the world's end after my name." 

" Pandarus, in Chaucer's story, is a friendly sort of go-between, 
tolerably busy, officious, and forward in bringing matters to bear: 
but in Shakspere he has ' a stamp exclusive and professional ' ; he 
wears the badge of his trade ; he is a regular knight of the game. 
The difference of the manner in which the subject is treated arises 
perhaps less from intention, than from the different genius of the 
two poets. There is no double entendre in the characters of Chau- 
cer ; they are either quite serious or quite comic. In Shakspere the 
ludicrous and ironical are constantly blended with the stately and 
impassioned." — Hazlitt. 

Allusions to, Measure for Measure, i. 3 ; Twelfth Night, in. 1 ; 
Merry Wives of Windsor, i. 3 ; Much Ado about Nothing, v. 2; 
Hamlet, Hi. 4. 

Panders, origin of the word, Troilus and Cressida, Hi. 2, end; 
ill requited, Troilus and Cressida, v. 11. 

Pandion, King, Passionate Pilgrim, xxi. 

Pandulph (Pandulphus de Masca), Cardinal, legate of the pope 
in King John, introduced in Hi. 1, a wily and subtle agent in the 
management of a difficult business. It was not he but Cardinal 
Gualo who tried to persuade the dauphin to wind up his " threaten- 
ing colours," v. 2. 

Pannonians, Cymbeline, Hi. 1, 7. Pannonia was a Roman prov- 
ince, including in part what is now Hungary. 

Pantaloon, the lean and slippered, As You Like It, ii. 7 ; the 
old, Taming of the Shrew, Hi. 1. 

"Pantaleone was a stereotyped character in old Italian come- 
dy, always aged, lean, slippered, and wearing loose pantaloons." — 
White. 

Panthino, servant of Antonio, the Two Gentlemen of Verona, 
i. 3. 

Pansy, the, Hamlet, iv. 4; called love-in-idleness, Midsummer- 
NighVs Dream, ii. 1. 

Paper bullets, of the brain, Much Ado about Nothing, ii. 3. 

Paphos, in Cyprus, The Tempest, iv. 1 ; Pericles, iv., induction ; 
Venus and Adonis, I. 1193. Paphos was sacred to Venus. 

Paracelsus, All's Well that Ends Well, ii. 3. A philosopher, 
23 



260 INDEX TO SHAKSPERE'S WORKS. 

physician, and reputed magician, 1493-1541, who used metallic medi- 
cines, while Galen preferred vegetable. 

Paradise, the offending Adam out of, Henry V., i. 1 ; what fool 
is not so wise to lose an oath to win a, Love's Labour's Lost, iv. 3. 

Paradox(es), Timon of Athens, Hi. 5 ; Troilus and Cressida, i. 
3; Othello, ii. 1. 

Parasite(s), Timon of Athens, i. 2; ii. 2 ; Hi. 6 ; King Lear, ii. 
4; A Winter's Tale, ii. 3 ; King John, iv. 2 ; Richard II., Hi. 2 ; 
hope is a, Richard II., ii. 2. See Flatterers. 

Parchment, dangerousness of. II. Henry VI., iv. 2. 

Pard, the, more pinch-spotted than, The Tempest, iv. 1 ; bearded 
like, As You Like It, ii. 7. 

Pardon, nurse of second woe, Measure for Measure, ii. 1 ; god- 
dess of the night, song, Much Ado about Nothing, v. 3 ; prayers for, 
Richard II, v. 3; offer of, to rebels, I. Henry IV., iv. 3 ; v. 1; II. 
Henry IV., iv. 1 ; II. Henry VI, v. 8 ; royal if given when least 
expected, Coriolanus, v. 1 ; when the offence is continued, Hamlet, 
Hi. 3. See Forgiveness, Mercy. 

Parent, a, suing to a son, Coriolanus, v. 3. See Father, 
Mother. 

Parental love, III. Henry VI., ii. 2 ; v. 5 ; A Winter's Tale, 
i. 2 ; Coriolanus, v. 3 ; Macbeth, iv. 2. 

Paris, scene of a part of All's Well that Ends Well, and of I. 
Henry VI., Hi. 4 ; iv. 1. 

Paris, son of Priam, King of Troy, whose elopement with Helen 
caused the Trojan war, character in Troilus and Cressida, introduced 
in i. 2. Alluded to in Taming of the Shrew, i. 2 ; Lucrece, lines 
1473, 1490 ; I. Henry VI, v. 6. 

Paris, a character in Romeo and Juliet, introduced in i. 2. He 
is a kinsman of the prince and a suitor for Juliet, who is commanded 
by her parents to accept him. He is killed by Romeo at Juliet's 
tomb, v. 3. 

" The well-meaning bridegroom, who thinks that he has loved 
Juliet right tenderly, must do something out of the common way ; 
his sensibility ventures out of its every-day circle, though fearfully, 
even to the very borders of the romantic. And yet how far different 
are his death-rites from those of the beloved ! How quietly he scat- 
ters his flowers ! Hence I cannot ask : ' Was it necessary that this 
honest soul, too, should be sacrificed % Must Romeo a second time 
shed blood against his will ? ' Paris belongs to those persons whom 
we commend in life, but do not immoderately lament in death ; at 
his last moments he interests us especially by the request to be laid 
in Juliet's grave. Here Romeo's generosity breaks forth, like a flash 



INDEX TO SHAKSPERE'S WORKS. 261 

of light from darksome clouds, when he utters the last words of bless- 
ing over one that has become his brother by misfortune." — Schlegel. 

Paris-garden, Henry VIII., v. 4. A bear-garden on the Bank- 
side, London. 

Parish-top, Twelfth Night, i. 3. A large top was usually kept 
in each village in England for the amusement of the villagers. 

Paritors, Love's Labour's Lost, Hi. 1, end. Officers of the spirit- 
ual court who serve citations. 

Parle (talk), Two Gentlemen of Verona, i. 2, and elsewhere. 

Parliament, at Westminster, 111. Henry VI, i. 1 ; at Bury St. 
Edmund's, II. Henry VI, Hi. 1. 

Parlous (perilous), As You Like It,iii. 2, and elsewhere. 

Parolles, a character in All's Well that Ends Well, introduced 
in the first scene. The name signifies "words." and Parolles is 
wordy, a braggart, and a treacherous coward. His duplicity is re- 
vealed to Bertram in an amusing scene, the third of the fourth act. 

Parricides, King Lear, ii. 1 ; Macbeth, Hi. 1. 

Parrots, prophesy like the. Comedy of Errors, iv. 4. It was a 
custom to teach them phrases like the one in the above passage, and 
say they prophesied. Discourse will grow commendable in none 
but, Merchant of Venice, Hi. 5 ; clamourous before rain, As You 
Like It, iv. 1; quaint wings of the popinjay, I. Henry IV., i. 3 ; of 
fewer words than a, I. Henry IV., ii. 4. 

Parrying, skill in, Twelfth Night, v. 1; I. Henry IV., ii. 4. 

Parson, dreams of a, Romeo and Juliet, i. 4. 

Parted (endowed), Troilus and Cressida, Hi. 3. 

Parthians, Antony and Cleopatra, Hi. 1 ; fight flying, Cymbe- 
line, i. 7. 

Parting, of lovers, Two Gentlemen of Verona, ii. 2 ; Merchant 
of Venice, ii. 7 ; Romeo and Juliet, ii. 2 ; Hi. 5 ; Troilus and Cres- 
sida, iv. 4,' Antony and Cleopatra, i. 3 ; iv. 4, 12, 15 ; II. Henry 
VI, Hi. 2 ; of husband and wife, I Henry IV., Hi. 1 ; Cymbeline, 
i. 4; of brother and sister, Hamlet, i. 3 ; Antony and Cleopatra, Hi. 
2 ; of friends, Merchant of Venice, ii. 8 ; Julius Cce-sar, v. 1 ; An- 
tony and Cleopatra, iv. 2 ; of Launce from his family, Two Gentle- 
men of Verona, ii. 3 ; of Cromwell from Wolsey, Henry VIII, v. 2. 

Partition, a witty, Midsummer-Night's Bream, v. 1. 

Partition, of England among conspirators, 1. Henry IV., Hi. L 

Partlet, Dame, A Winter's Tale, ii. 3 or 4; I. Henry IV, 1; 
Hi. 3. The hen in " Reynard the Fox." 

Partridge, the, in the puttock's nest, II Henry V, Hi. 2. 



262 INDEX TO SHAKSPERE'S WORKS. 

Fash, (smash), Troilus and Cressida, ii. 3. 

Pass (care), II. Henry VI., iv. 2. 

Pass (thought), of pate, The Tempest, iv. 1. 

Pass, defence of a, Cymbeline, v. 3. 

Passado (pass in fencing), Love's Labour's Lost, i. 2, end ; Ro- 
meo and Juliet, ii. 4> Hi- I 

Passes (doings or trespasses), Measure for Measure, v. 1. 

Passing-bell, the, II. Henry IV., i.l; Venus and Adonis, I. 
701 ; Sonnet Ixxi. 

Passion, that hangs weights on the tongue, As You Like It, i. 
2 ; dangers of, i7. Henry VI. v. 1, " Take heed lest by your heat,'' 
etc. ; Henry VIII, i. 1 ; man not the slave of, Hamlet, Hi. 2 ; a, 
torn to tatters, Hamlet, in. 2 ; of Lear, King Lear, iii. 1, 2, 4 i be- 
tween extremes of, King Lear, v. 3. 

Passionate Pilgrim, The, the name given to a collection of 
poems usually included in Shakspere's works, though many of them 
are known not to be from his hand. They were collected and printed 
with his name in 1599 by a piratical publisher. Of the poems com- 
posing it, five are known to be Shakspere's — namely, those begin- 
ning, " When my love swears," " Two loves I have," " Did not the 
heavenly," " If love make me forsworn," " On a day, alack the day," 
the first two of which are in the Sonnets (cxxxviii. and cxliv.), and 
the others in Love's Labour's Lost, published in 1598. Two of them 
are by Richard Barnfield, those beginning, "If music and sweet 
poetry," " As it fell upon a day." The one beginning, " Live with 
me and be my love," is by Marlowe ; and the answer, " If that the 
world," is generally attributed to Raleigh. No. xviii., " My flocks 
feed not," is from Weelkes's " Madrigals," published in 1597. The 
authorship of the others is doubtful. Swinburne says of them : 

" The rest of the ragman's gatherings [excepting the poems from 
Shakspere], with three most notable exceptions [Marlowe's and Barn- 
field's], is little better, for the most part, than dry rubbish or dis- 
gusting refuse ; unless a plea may haply be put in for the pretty 
commonplaces of the lines on a 'sweet rose, fair flower,' and so 
forth ; for the couple of thin and pallid, if tender and tolerable, 
copies of verse on ' Beauty ' and ' Good-Night,' or the passably light 
and lively stray of song on ' Crabbed age and youth.' " 

The second title given to the latter part of the collection, " Son- 
nets to Sundry Notes of Music," was in the original. 

Passy-measures. See Pa van. 

Past, the, and the to-come, seem best, II. Henry IV., i.3; good 
deeds of, forgotten, Troilus and Cressida, iii. 3. 



INDEX TO SHAKSPERE'S WORKS. 263 

Pastors, that do not practise what they preach, Hamlet, i. 3. 

Pastry (room for pastry), Romeo and Juliet, Hi. 4. 

Patay, battle of, /. Henry VI, iv. 1. 

Patch, Comedy of Errors, Hi. 1, 2 ; Macbeth, v. 3, and others. 
Fool ; originally a jester in a patched dress. 

Patches, worse than rents, King John, iv. 2. 

Patchery (roguery), Troilus and Cressida, ii. 3; Timon of 
Athens, v. 1. 

Paths, walking in trodden, As You Like It, i. 3. 

Patience, at others' troubles, Comedy of Errors, ii. 1 ; exhorta- 
tion to, Comedy of Errors, Hi. 1, Balthazar's speech ; under sor- 
row, Much Ado about Nothing, v. 1 ; opposed to fury, Merchant of 
Venice, iv. 1 ; on a monument, Twelfth Night, ii. 4 ; is cowardice 
in nobles, Richard II, i. 2 ; what goddess she be, Troilus and Cres- 
sida, i. 1 ; cool, Hamlet, Hi. 4 ', prayer for, King Lear, ii. 4 ,' makes 
a mockery of injury, Othello, i. 3 ; they are poor that have not, 
Othello, ii. 3 ; past, Othello, iv. 2 ; is sottish, Antony and Cleopatra, 
iv., end; gazing on kings' graves, Pericles, v. 1 ; a tired mare, Henry 
V., ii. 1; grief and, Cymbeline, iv. 2 ; badge of the Jews, Merchant 
of Venice, i. 3 ; sovereign aid of, Tempest, v. 1. 

Patience, an attendant of Queen Katharine in Henry VIII., in- 
troduced in iv. 2. 

Patines, Merchant of Venice, v. 1. 

" A patine is a small, flat dish or plate (for holding the bread) 
used with the chalice in the administration of the sacrament." — Dyce. 

Patricians, complaint against, Coriolanus, i. 1; dividing their 
power, Coriolanus, Hi. 1. 

Patrick, Saint, Hamlet swears by, i. 5. 

Patriotism, King John, v. 2 ; Richard II, ii. 1; Hi. 2; I. 
Henry IV., iv. 3, " The king is kind," etc. ; a woman's, Coriolanus, 
i. 3 ; of Comenius, Coriolanus, Hi. 3 ; of Macduff, Macbeth, iv. 3 ; 
and friendship, Julius Cmsar, i. 2, speech of Brutus, " Passions of 
some difference," etc. ; professed, of Brutus, Julius Cmsar, lii. 2. 

Patroclus, a Grecian general, character in Troilus arid Cressida, 
introduced in ii. 1. In i. 3 Ulysses describes his mimicry of the 
other Greek leaders for the amusement of Achilles. 

Pauca verba (few words), Love's Labour's Lost, iv. 2. 

Paucas pallabris (few words), Taming of the Shrew, induc- 
tion, 1. 

Paul, by Saint, a favourite oath of Richard III., i. 1, 3; Hi. 4 1 
v.3. 



264 INDEX TO SHAKSPERE'S WORKS. 

Paulina, an important character in A Winter's Tale, a champion 
of the queen against the jealous king. 

" Such are some of the words that boil over from the stout heart 
of Paulina, the noblest and most amiable termagant we shall any- 
where find, when, with the new-born babe in charge, she confronts 
the furious king. He threatens to have her burnt, and she replies 
instantly : 

" ' I care not ; 
It is an heretic that makes the fire, 
Not she which burns in't.' 

If her faults were a thousand times greater than they are, I could 
pardon them all for this one little speech; which proves that Shak- 
spere was, I will not say a Protestant, but a true Christian intellectu- 
ally, at least, and far deeper in the spirit of his religion than a large 
majority of the Church's official organs were in his day, or, let me 
add, have been any day since. . . . With a head to understand 
and a heart to reverence such a woman [Hermione], she unites a 
temper to fight and a generosity to die for her. . . . Loud, voluble, 
violent, and viraginous, with a tongue sharper than a sword, and an 
eloquence that fairly blisters where it hits, she has, therewithal, too 
much honour and magnanimity and kind feeling either to use them 
without good cause, or to forbear using them at all hazards when 
she has such cause." — Hudson. 

Paul's, I bought him in, II. Henry IV., i. 2. St. Paul's was a 
resort for all kinds of idlers, and men out of service were to be found 
there as at an intelligence-office. See under Proverbs. 

Pa van, Twelfth Night, v. 1. The pa van is a grave, formal 
dance. This word is in some texts paynim, in which case " a passy- 
measures paynim " is interpreted, a heathen past measure. With 
pavan, passy- measures may be understood to mean pacing-measure. 

Payment, fair, for foul words, Love's Labour's Lost, iv. 1. 

Peace, Heaven's, but not the King of Hungary's, Measure for 
Measure, i. 2 ; soldiers and. Measure for Measure, i. 2 ; to all that 
dare not fight, Love's Labour's Lost, i. 1 ; made, King John, ii. 1 ; 
iii.l; fat ribs of, King John, Hi. 3; attempt to make, between 
challenger and challenged, Richard II, i. 1; a breathing-space for, 
I. Henry IV., i. 1; made, II. Henry IV., iv. 2; Henry V., v. 3; I. 
Henry VI, v. 1 ; II. Henry VI, i. 1 ; Henry VIII., i. 1 ; virtues 
becoming in, Henry V., Hi. 1 ; one unfitted for — the piping time of, 
Richard III, i. 1 ; desire for, Richard III, ii. 1 ; above earthly 
dignities, Henry VIII, Hi. 2 ; prophesied in the time of Elizabeth, 
Henry VIII, v. 4 ; shallow boats in time of, Troilus and Cressida, 
i. 3 ; an apoplexy, etc., Coriolanus, iv. 5 ; made by women, Corio- 
lanus, v. 3 ; ratified, Cymbeline, v. 5, end. 



INDEX TO SHAKSPERE'S WORKS. 265 

Peace-maker(s), King Edward as a, Richard III., ii. 1 ; God's 
blessing on, Macbeth, ii. 4. 

Peacocks, Juno's, The Tempest, iv. 1 ; pride of, Comedy of Er- 
rors, iv. 3 ; I. Henry VI., Hi. 3 ; Troilus and Cressida, in. 3 ; Ham- 
let, Hi. 2. 

Pearls, in a foul oyster, As You Like It, v. 4; tears trans- 
formed to, Richard III., iv. 4; alluding to the notion that pearl- 
oysters open on a certain day in the year to receive rain-drops, which 
then become pearls ; in India, Troilus and Cressida, i. 1 ; a union 
(a large pearl), Hamlet, v. 2 ; a rich, thrown away, Othello, v. 2. 

Pears, poperin, Romeo and Juliet, ii. 1; warden, A Winter's 
Tale, iv. 3. 

Peas-blossom, a fairy in the Midsummer- Night 's Bream, Hi. 1. 

Peascod, wooing a, As You Like It, ii. 4. Alluding to the cus- 
tom of using the pods of peas in divinations of lovers. 

Peat (pet), Taming of the Shrew, i. 1. 

Peck, Gilbert, Henry VIII, i. 1 ; ii. 1. 

Pedant, a, a character in the Taming of the Shrew, introduced 
in iv. 2, who takes, the name of Vincentio. Another pedant in the 
plays is Holofernes in Love's Labour's Lost. 

Pedantry, ridiculed in Love's Labour's Lost. 

Pedascule (pedant), Taming of the Shrew, Hi. 1. 

Pedlar, a, Autolycus in A Winter's Tale. 

Pedro, Don, Prince of Aragon, character in Much Ado about 
Nothing, introduced in i. 1, a good-humoured meddler. 

Peeled (feald, tonsured), I. Henry VI, i. 3. 

Peer out, Merry Wives of Windsor, iv. 2. Allusion to a chil- 
dren's rhyme to a snail — 

" Peer out, peer out, peer out of your hole, 
Or else I'll beat you as black as a coal." 

Peevish (foolish), Comedy of Errors, iv. 1, 4 ; Richard 111., iv. 
4 ; (saucy), Twelfth Night, i. 5. 

Peg-a-Ramsey, Twelfth Night, ii. 3. The heroine of an old 
song, mistress of James I. of Scotland. 

Pegasus, I. Henry IV, iv. 1 ; Henry V., Hi. 7. The winged 
horse of the Muses. 

Pegasus, the, Taming of the Shrew, iv. 4. An inn in Genoa. 
The arms of the Middle Temple, and a popular sign. 

Peise or peize (to weigh), Merchant of Venice, Hi. 2 ; King 
John, ii. 1. 

Pelican 2 the, Richard II, ii. 1 ; Hamlet, iv. 5 or 2 ; King Lear, 



2G6 INDEX TO SHAKSPERE'S WORKS. 

Hi. 4> Allusion to the notion that young pelicans were fed on thsir 
mother's blood. 

Pelion, Mount (a range in Thessaly), Merry Wives of Windsor, 
ii. 1 ; Hamlet, v. 1. The giants piled Ossa upon Pelion in order to 
climb into heaven. 

Pelting (paltry), Richard II,, ii. 1, and elsewhere. 

Pembroke, William Marshall, Earl of, character in King John, 
introduced in the first scene. He did not go over to the French in- 
terest, as represented in the play, but his son, of the same name, 
joined the Dauphin. 

Pembroke, William Herbert, Earl of, character in 7/7. Henry 
VI, introduced in iv. 1. He was a partisan of York. He was be- 
headed in 1469. Sir Walter Herbert in Richard III. was his son. 

Pembroke, Jasper Tudor. Earl of, Richard III., iv. 5. He was 
an uncle of Richmond. 

Pembroke, Marchioness of, Anne Boleyn receives the title of, 
Henry VIII, ii. 3. 

Penalties, unenforced, Measure for Measure, i. 4. See Pardon. 

Penance, for a jealous tyrant, A Winters Tale, Hi. 2, " A thou- 
sand knees," etc. 

Pendragon, 7. Henry VI, Hi. 2. Uther, father of Arthur. 

Penelope, her spinning, Coriolanus, i. 3. 

Penelophon (or Zenelophon), Love's Labour's Lost, iv. 1. The 
beggar-maid loved by King Cophetua. 

Penitence, the signal for mercy, The Tempest, v. 1; enough, 
Two Gentlemen of Verona, v. 4; for another's fault, Comedy of 
Errors, i. 2 ; in ashes, King John, iv. 1. 

Penker, Friar, Richard III, Hi. 5. Provincial of the Augus- 
tine friars, and a popular preacher. See Shaw. 

Pensioners, Merry Wives of Windsor, ii. 2; Midsummer- 
Nighfs Dream, ii. 1. Allusion to Elizabeth's tall gentlemen pen- 
sioners, who wore an abundance of gold lace. 

Pentapolis, scene of a part of Pericles. 

Pentecost, pageants at, Two Gentlemen of Verona, iv. 4. 

Penthesilea, Twelfth Night, ii. 3. The queen of the Amazons. 

People, dislike of being gazed at by the, Measure for Measure, 
i. 1; courting the common, Richard II, i. 4 >' liking of the, in 
their eyes, Hamlet, iv. 3 or v. 7 ; sympathy of the, King Lear, iv. 3, 
" To pluck the common bosom ; " fickleness of the, Antony and Cleo- 
patra, i. 2, 4 ; are the city, Coriolanus, Hi. 1. See also Plebeians. 

Pepin, King, when he was a boy, Love's Labour's Lost, iv. 1 ; a 



INDEX TO SHAKSPERE'S WORKS. 267 

physician that could raise, All's Well that Ends Well, ii. 1; his 
title to the throne, Henry V., i. 2 ; counsellors to, Henry VIII., i. 3. 

Percy, Henry. See Northumberland, and Hotspur. 

Percy, Lady, wife of Hotspur, character in I. Henry IV., intro- 
duced in ii. 3, and as Hotspur's widow in II. Henry IV., ii. 3, where 
she upbraids Northumberland for sacrificing his son by his delay. 
Her name, called Kate in the play, was Elizabeth. She was a sis- 
ter of Mortimer. 

Percy, Thomas. See Worcester. 

Perdita, the lost daughter of Leontes and Hermione in A Win- 
ter's Tale, is brought up as a shepherdess, but restored to her parents 
at the age of sixteen. Her natural grace and the delicacy and eleva- 
tion of her nature, the strong features of her mother's softened by 
inexperience and girlish light-heartedness, make her one of the most 
attractive among the heroines of the plays. Her character is exhibit- 
ed chiefly in iv. 4. 

Perdu, King Lear, iv. 7. A soldier sent on a forlorn hope. 

Perdy (par Dieu), Comedy of Errors, iv. 4, and elsewhere. 

Peregrinate (of a foreign cast), Love's Labour's Lost, v. 1. 

Perfect (certain), A Winter's Tale, Hi. 3 or 4, and elsewhere. 

Perfection, All's Well that Ends Well, ii. 1, " All that life can 
rate," etc. ; Othello, ii. 1, " She that was ever fair," etc. ; no absolute, 
Lucrece, I. 853. 

Performance, Henry VIII., i. 2; a kind of testament, Timon 
of Athens, v. 2. 

Perge (go on), Love's Labour's Lost, iv. 2. 

Periapts, charms worn to guard from danger, I. Henry VI, v. 3. 

Pericles, Prince of Tyre, a drama first published in 1609 ; it was 
not included in the folio of 1623. Some critics suppose it to be the 
joint production of Shakspere and another or others ; that the first 
three acts were not his, and that this accounts for its omission from 
the folio. Others think he wrote it at an early period, and rewrote 
the better part in his maturer years. It is known to have been very 
popular on the stage. The plot is taken from an old story in the 
" Gesta Romanorum," translated into Anglo-Saxon, and afterward 
into English (1576), by Lawrence Twine, under the title, " The Pat- 
tern of Painful Adventures." Gower rendered it into English verse, 
and included it in his " Confessio Amantis." The play is apparently 
from the version of Gower, who appears as chorus in it. Apollonius 
is the name of the prince in those versions ; and it has been conject- 
ured that Pericles is a form for Pyrocles, name of the hero of Sid- 



INDEX TO SHAKSPERE'S WORKS. 

ney's " Arcadia," published in 1590 ; the more so, as the character in 
the play, and some of the incidents and ideas, resemble those of Sid- 
ney's work. The period of action extends over from fifteen to twenty 
years. The play as a whole is not regarded as of any great value, 
but portions of it are in Shakspere's best manner. " No poetry of 
shipwreck and the sea has ever equalled the great scene of ' Peri- 
cles;' no such note of music was ever struck out of the clash and 
contention of tempestuous elements." 

Pericles, Prince of Tyre, introduced in the first scene of the 
drama, where he solves the riddle of Antiochus, who seeks his life in 
revenge, and he, by the advice of Helicanus, goes away to travel ; re- 
lieves Tharsus, i. 4 ; is shipwrecked, ii. 1 ; victor in a joust, ii. 3 ; 
marries Thaisa, ii. 5 ; is wrecked a second time. Hi., prologue ; finds 
his daughter, v. 1 ; his wife, v. 3. 

"His depth of soul and intellect, and a touch of melancholy, pro- 
duce in him that painful sensitiveness, which indeed, as long as he 
is unsuspicious, leaves him indifferent to danger ; but, after he has 
once perceived the evil of men, renders him more faint-hearted than 
bold, and more agitated and uneasy than enterprising." — Gervinus. 

Perigenia, Midsummer-Night's Dream, ii. 1. 

Perigort, Lord, Love's Labour's Lost, ii. 1. 

Perjurer, wearing papers, Love's Labour's Lost, iv. 3. A per- 
jurer was punished by being compelled to wear a paper on the breast 
naming his crime. 

Perjury, King Jolm, Hi. 1 ; of lovers, Romeo and Juliet, ii. 2 ; 
plagues for, Love's Labour's Lost, v. 2 ; Merchant of Venice, iv. 1 ; 
Much Ado about Nothing, iv. 1 ; As You Like It, i. 2. 

Perpend (consider), Merry Wives of Windsor, ii. 1; Twelfth 
Night, v. 1 ; Hamlet, ii. 2. 

Perpetual motion, scoured to death with, II. Henry IV., i. 2. 

Perplexity, expression of, Cymbeline, Hi. 4. 

Perseus, Henry V., Hi. 7; Troilus and Oressida, i. 3; iv. 5. 
The hero that took the Gorgon's head. 

Perseverance, keeps honour bright, Troilus and Cressida, Hi. 
3 ; Venus and Adonis, I. 565; after repulse, The Tempest, Hi. 3. 

Perspective, Twelfth Night, v. 1 ; Richard II., ii. 2. The name 
was applied to all kinds of optical instruments, some of which pro- 
duced illusions, and it was also a name for pictures painted so as to 
show the design only from a certain point of view at one side. 

Perversion, from natural use, Romeo and Juliet, ii. 3 ; of the 
fairest things, Sonnets xciv.-xcvi. 



INDEX TO SHAKSPERE'S WORKS. 269 

Pestilence, Coriolanus, iv. 1; Romeo and Juliet, v. 2; Antony 
and Cleopatra, Hi. 8; judgment of God, Richard II, Hi. 3 ; ' ; the 
Benedick," Much Ado about Nothing, i. 1. 

Petar (petard), hoist with his own, Hamlet, Hi. 4, end. 

Peter, Saint, Othello, iv. 2 ; Much Ado about Nothing, ii. 1; 
Romeo and Juliet, Hi. 5. 

Peter of Pomfret, a character in King John, appears in iv. 2. 
He was a hermit reverenced by the common people as a seer. It is 
said that for his prophecy, which was really made in 1213, he was 
dragged at horses' tails and afterward hanged on a gibbet with his 
son. He was said to have been instigated to utter the prophecy 
against John by the pope's legate and the barons ; it was supposed 
also that his words moved John to come to a speedier agreement 
with the pope. 

Peter, a friar in Measure for Measure, introduced in iv. 5. 

Peter, assistant of the armourer in II. Henry VI, introduced 
in i. 3 ; his combat with his master, ii. 3. 

Peter, servant of the nurse in Romeo and Juliet, appears in ii. 
4 and iv. 5. 

Petitions, of maidens, Measure for Measure, i. 5. 

Peto, one of the companions of Falstaff in the two parts of Hen- 
ry IV., introduced in the first part in ii. 2, and in the second in 
ii. 4' He was Falstaff's lieutenant in his " charge of horse." 

Petrarch, Romeo and Juliet, ii. 4. 

Petrifaction, Hamlet, iv. 7 or 4. 

Petruchio, character in the Taming of the Shrew, who marries 
Katherina the shrew, first appears in i. 2. 

" Petruchio appears the only rational character of the piece ; yet 
even he is driven, by the pervading folly of all the rest, at least to 
play the part of a fool, and so becomes ridiculous, even though event- 
ually the laugh is on his side. All the characters except Petruchio 
and Katherina are sketched with a light touch ; the very composi- 
tion of the piece forbids a nicer and more accurate delineation, and 
yet Shakspere has succeeded in giving to all the stamp of individu- 
ality. One trait in Katherina's conduct appears false : it is not 
easy to see how so self-willed and stubborn a disposition could have 
been so easily persuaded into a marriage with Petruchio. . . . The 
true motive, evidently, was the surprise and irresistible impression 
which an energetic mind and manly resolution made upon her. In 
Petruchio she meets for the first time in her life a man worthy of 
the name ; hitherto she has been surrounded with mere women in 
male attire. A genuine man she cannot but admire, nay, more, love. 
The very pride and somewhat overweening energy of her womanly 
nature is a sufficient reason, psychologically, for her hearty submis- 
sion." — Ulrici. 



2Y0 INDEX TO SHAKSPERE'S WORKS. 

Pew-fellow (companion), Richard III., iv. 4. 

Phaeton, Two Gentlemen of Verona, Hi. 1; Richard II, Hi. 3 ; 
III. Henry VI, i. 4; ii. 6 ; Romeo and Juliet, Hi. 2. He attempted 
to drive for one day the chariot of his father, the Sun. The horses 
ran away. The world was set on fire, and Jove, at the petition of 
the Earth, hurled a thunderbolt at the unhappy charioteer, who fell 
headlong into the river Eridanus. 

Pharamond, King, and the Salic law, Henry V., i. 2. 

Pharaoh, lean kine of, I. Henry IV., ii. 4 > soldiers of, Much 
Ado about Nothing, Hi. 3. 

Pheezar (conqueror), Merry Wires of Windsor, i. 3. 

Pheeze (to chastise or humble), Taming of the Shrew, induction, 
1 ; Troilus and Cressida, ii. 3. 

PhUadelphos, of Paphlagonia, Antony and Cleopatra, Hi. 6. 

Philario, an Italian, friend of Posthumus in Cymbeline, intro- 
duced in i. 4- 

Philemon. See Ovid. 

Philemon, servant of Cerimon in Pericles, appears in Hi. 2. 

Philip, name for a sparrow, King John, i. 1, so called from its 
note, which is thought to sound like the name. 

Philip and Jacob, Saints, Measure for Measure, Hi. 2. A holi- 
day falling on May 1st. 

Philip (Augustus) II., King of France from 1180 to 1223, a 
character in King John. He is introduced at. the beginning of the 
second act. He was the great enemy and rival of Cceur-de-Lion. 

Philippi, the battles of : decision to give battle, Julius Caisar, 
iv. 3 ; the action, Julius Caisar, v. 1-5 ; they were separated by an 
interval of twenty days, though spoken of in v. 3 as being on the 
same day ; Antony and Cleopatra, Hi. 9 or 11. 

Philo, character in Antony and Cleopatra, introduced in i. 1, 
friend of Antony. 

Philomel, Titus Andronicus, ii. 4 or 5 ; iv. 1 ; Lucrece, lines 
1079, 1128; Sonnet cii. ; Passionate Pilgrim, xv; Cymbeline, ii. 2. 
See Tereus. 

Philosopher, a, never could endure toothache, Much Ado about 
Nothing, v. 1; the weeping (Heraclitus), Merchant of Venice, i. 2 ; 
desiring to eat a grape. As You Like It, v. 1. 

Philosopher's stone, the, AWs Well that Ends Well, v. 3, 
"Plutus himself," etc.; two stones, II. Henry IV., Hi. 2 ; alluded 
to as a great medicine, Antony and Cleopatra, i. 5. 

Philosophy, a school of, Love's Labour's Lost, i. 1; a shep- 



INDEX TO SHAKSPERE'S WORKS. 271 

herd's, As You Like It, Hi. 2 ; adversity's milk, Romeo and Juliet, 
Hi. 3 ; make no use of, Julius Caesar, iv. 3 ; things not dreamt of in, 
Hamlet, i. 5 ; pretended, All's Well that Ends Well, ii. 3. 

Philostrate, character in the Midsummer-Night' 's Dream, intro- 
duced in i. 1. He is Theseus's master of the revels. 

Philoten, daughter of Cleon, Governor of Tarsus, mentioned in 
Pericles, iv., prologue. 

Philotus, servant of one of the creditors of Timon of Athens, 
introduced in Hi. 4- 

Phisnomy (physiognomy), AlTs Well that Ends Well, iv. 5. 

Phoebe (the moon), Midsummer-Night- 's Dream, i. 1 ; Titus An- 
dronicus, i. 2. 

Phoebe, a shepherdess and rustic beauty in As You Like It, with 
" inky brows, black silk hair, bugle eyeballs, and cheeks of cream," 
beloved by Silvius, appears first in Hi. 5. She " is quite an Arcadian 
coquette ; she is a piece of pastoral poetry." 

Phoebus Apollo, god of the sun, The Tempest, iv. 1; Much 
Ado about Nothing, v. 3 ; A Winter's Tale, iv. 3 or 4; III. Henry 
VI, ii. 6 ; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 8 ; v. 2 ; Cym- 
beline, ii. 3 ; I. Henry IV., i. 2 ; Romeo and Juliet, Hi. 2. 

Phoenix, the, The Tempest, Hi. 3 ; Comedy of Errors, i. 2 ; III. 
Henry VI, i. 4 > Henry VIII, v. 5 ; Cymbeline, i. 6 ; Sonnet xix. ; 
Lover's Complaint, I. 93 ; As Yon Like It, iv. 3 ; I. Henry VI, v. 
1 ; Timon of Athens, ii. 1. A fabled Arabian bird, which, after liv- 
ing five hundred years, made for itself a funeral pyre, from the ashes 
of which rose a new phoenix. 

Phoenix and the Turtle, The, was printed as Shakspere's in a 
book which appeared in 1601, " Love's Martyr, or Rosalin's Com- 
plaint." Its authorship is doubtful. 

Phraseless (indescribable), Lover's Complaint, I. 225. 

Phrases, red-lattice (alehouse), Merry Wives of Windsor, v. 5 ; 
not soldier-like, Merry Wives of Windsor, ii. 1 ; a mint of, Love's 
Labour's Lost, i. 1. 

Phrygian Turk, base, Merry Wives of Windsor, i. 3. 

Phrynia, a mistress to Alcibiades, character in Timon of Athens, 
introduced in iv. 3. 

Physic, throw, to the dogs, Macbeth, v. 3. See Medicine. 

Physical (medicinal), Coriolanus, i. 4 ; Julius Caisar, ii. 1. 

Physician(s), ridicule of, Merry Wives of Windsor, ii. 3 ; iron- 
ical praise of, Merry Wives of Windsor, Hi. 1 ; skill of a, All's Well 
that Ends Well, i. 1 ; a woman, All's Well that Ends Well, - ii. 1 ; 
24 



272 INDEX TO SHAKSPERE'S WORKS. 

trust not the, Tirnon of Athens, iv. 3 ; kill the, and bestow the fee 
on the disease, King Lear, i. 1 ; give what they would not take, 
Pericles, i. 2 ; sleeps while the patient dies, Lucrece, I. 904; & n an- 
gry, Sonnet cxlvii. 

Physicians. See Butts, Caius, Cerimon, Cornelius, Narbqn, 
and Doctors in Macbeth and King Lear. 

Physiognomy, Macbeth, i. 1, " There is no art to find the 
mind's construction in the face." 

Picardy, scene of a part of Henry V, and mentioned in II. 
Henry VI, iv. i. 

Picked (nice, fastidious), Love's Labour's Lost, v. 1. 

Pickpocket, a, Autolycus in A Winter's Tale. 

Pickthanks (parasites), i". Henry IV., Hi. 2. 

Pickt-hatch, Merry Wives of Windsor, ii. 2. " A disreputable 
neighbourhood in London, where the hatches or half-doors were pro- 
tected against rogues by spikes or pickets." 

Picture, of we three, Twelfth Night, ii. 3. Allusion to a com- 
mon sign representing two fools and the legend beneath, " We three 
fools be." 

Pictures, two contrasted, Hamlet, Hi. 4 ; description of, Tam- 
ing of the Shrew, induction, 2; the sleeping and the dead are as, 
Macbeth, ii. 2. See Perspectives and Painting. 

Piedness, in flowers, A Winter's Tale, iv. 3 or 4. 

Pierce of Exton, Sir. See Exton. 

Piety, rewards by fairies for, Merry Wives of Windsor, v. 5 ; 
cruel, irreligious, Titus Andronicus, i. 2. 

Pigeons, carrier, Titus Andronicus, iv. 3. 

Pight (pitched, set), King Lear, ii. 1 ; Troilus and Oressida, v. 2. 

Pigrogromitus and the Vapians, Twelfth Night, ii. 3. This 
is probably an invention of Shakspere's, used in fun. 

Pilate, Pontius, Richard II, iv. 1 ; Richard III, i. 4> 

Pilcher (scabbard), Romeo and Juliet, Hi. 1. 

Pilgrim, a true devoted, Two Gentlemen of Verona, iv. 7. 

Pilgrimage(s), AW 8 Well that Ends Well, iv. 3 ; to Canterbury, 
I. Henry IV., i. 2 ; to atone for guilt, Richard II, v. 6. 

Pillage, forbidden to soldiers, Henry V., Hi. 6. 

Pillar of the world, the triple [or third], Antony and Cleo- 
patra, i. 1. Alluding to the three triumvirs. 

Pilled (despoiled, from the same root as pillage), Richard II, ii, 
1 ; Richard III, i. 3. 

Pillicock, sat on, etc., King Lear, Hi. 4. A nursery rhyme. 



INDEX TO SHAKSPERE'S WORKS. 273 

Pillory, the, Two Gentlemen of Verona, iv. 4; Taming of the 
Shrew, ii. 1. 

Pimpernell, Henry, mentioned, Taming of the Shrew, induc- 
tion, 2. 

Pin and web (cataract on the eye), A Winter's Tale, i. 2 ; King 
Lear, Hi. 4. 

Pinch, a schoolmaster in the Comedy of Errors, introduced in 
iv. 4 ; described by Antipholus in v. 1. 

Pindarus, a servant of Cassius in Julius Ccesar, appears in iv. 2. 

Pine-trees, knots in, Troilus and Cressida, i. 3. 

Pioned (covered with peonies), The Tempest, iv. 1. 

Pip out, a. Taming of the Shrew, i. 2. " A phrase applied to a 
drunken person, borrowed from a game of cards, Bone-ace, or One 
and Thirty." 

Pipe, a, for Fortune's finger to sound what stop she pleases, 
Hamlet, Hi. 2 ; of Hermes, Henry V., Hi. 7. 

Pirate(s), Twelfth Night, v. 1; II. Henry VI., i. 1; Suffolk 
dies by, iv. 1 ; Hamlet, iv. 6 or 3 ; Antony and Cleopatra, i. 4 ; ii. 
6 ; the sanctimonious, Measure for Measure, i. 2. 

Pisa, renowned, Taming of the Shrew, i. 1 ; iv. 2. 

Pisanio, servant to Posthumus in Cymbeline, introduced in i. 1 ; 
ordered to kill Imogen, Hi. 2 ; his scheme to save her, Hi. 4. 

Pistol, a swaggering bully, one of Falstaff's companions in II. 
Henry IV., the Merry Wives of Windsor, and Henry V. He is at 
first ancient or ensign, afterward lieutenant, and marries Mistress 
Quickly, the tavern hostess. In the Merry Wives of Windsor he 
conspires with Nym to defeat Falstaff. His character is set forth by 
Falstaff in ii. 2. His conversation is distinguished by the use of 
classical allusions. He is introduced in II. Henry IV. in ii. 4, where 
he rants snatches of plays and ballads. In Henry V., ii. 1, he ap- 
pears as the husband of Mistress Quickly, and quarrels with Bar- 
dolph, who had been troth-plight to her. He goes to the war in 
France, appearing on the battle-field in iv. 4, and is last seen in v. 1. 
The names of Bardoulph and Pistail are said to be on the muster-roll 
of artillerymen serving under the Earl of Arundel in 1435. 

Pitch, they that touch, are defiled, Much Ado about Nothing, 
Hi. 3 ; I. Henry I V., ii. 4 > H- Henry VI., ii. 1 ; Love's Labour's 
Lost, iv. 3. 

Pitchers, have ears, Taming of the Shrew, iv. 4 ,' Richard 777., 
ii. 4- 

Pity, and justice, Measure for Measure, ii. 2 ; even beasts know, 



274 INDEX TO SHAKSPERE'S WORKS. 

Richard HI, i. 2 ; for the falling, Henry VIII, Hi. 2 ; leave, with 
our mothers, Troilus and Cressida, v. 3 ; the virtue of the law, 
Timon of Athens, Hi. 5 ; like a new-born babe, Macbeth, i. 7 ; 'tis 
true, 'tis, Hamlet, ii. 2 ; for the poor, King Lear, Hi. 4, " Poor naked 
wretches," etc. ; implored, As You Like It, ii. 7 ; Cymbeline, iv. 2 ; 
Henry VI II, prologue ; for a begging prince, Richard III, i. 4>' 
want of, Richard II, v. 2 ; Timon of Athens, Hi. 2 ; iv. 3. 

Piu por dulzura, que por fuerza, Pericles, H. 2. More by 
gentleness than by force. 

Place and greatness, Measure for Measure, iv. 1. 

Plague, the : inscription on infected houses, " Lord have mercy 
on us," Love's Labour's Lost, v. 2 ; of Greece, Troilus and Cressida, 
ii. 1, sent by Apollo on the Grecian army ; of both your houses, Ro- 
meo and Juliet, Hi. 1 ; of custom (conventionality), King Lear, i. 2. 

Plain-speaking, Julius Ca&sar, i. 2, " Rudeness is a sauce," etc. ; 
Julius Caisar, Hi. 2, " I have neither wit nor words," etc. ; King 
Lear, ii. 2, " These kind of knaves I know," etc. 

Planched (planked), Measure for Measure, iv. 1. 

Planetary influence. See Astrology. 

Planets, the, disorder of, Troilus and Cressida, i. 3. 

Plantagenet. For Edmund, see Rutland. For Edward, see 
Edward IV. For George, see Clarence. For Richard, Duke of 
York, see York. For Richard, see Richard III. 

Plantain, the herb, used for wounds, Love's Labour's Lost, Hi. 
1 ; Romeo and Juliet, i. 2. 

Plashy, Richard II, i. 2 ; ii. 2. Castle of the Duchess of Glos- 
ter in Essex. 

Platforms (plans), I. Henry VI, ii. 1. 

Plautus, Hamlet, ii. 2. A Roman comic dramatist, died in tho 
year 184 b. c. 

Player(s), a strutting, Troilus and Cressida, i. 3, " The great 
Achilles," etc.; Taming of the Shrew, induction, 1; Hamlet, ii. 2 ; 
life like a, Macbeth, v. 5 ; advice to, Hamlet, Hi. 1. See Actors. 

Play(s), life a, As You Like It, ii. 7 ; remorse oft aroused by, 
Hamlet, ii. 2 ; names of, Midsummer-NighVs Dream, v. 1; good for 
melancholy, Taming of the Shrew, induction, 2. 

Plea, of " not guilty," A Winter's Tale, Hi. 2. 

Pleached (intertwined), Much Ado about Nothing, i. 2, and 
elsewhere. 

Pleasure, deaf to reason, Troilus and Cressida, ii. 2 ; turned 
ill, Antony and Cleopatra, i. 2 ; dearly bought, Lucrece, I. 211. 



INDEX TO SHAKSPERE'S WORKS. 275 

Plebeians, of Rome, revolt of, Coriolanus, i. 1. This incident 
in the play is placed in a street of Rome ; but, according to Plutarch, 
the plebs withdrew to Mons Sacer, the ho]y hill. Wrongs and faults 
of, Coriolanus, i. 1 ; cowardice of, Coriolanus, i. 4, 6 ; abuse of, Co- 
riolanus, ii. 1 ; flatterers of, Coriolanus, ii. 2, 3 ; Hi. 2 ; wits of the, 
Coriolanus, ii. 3 ; denounced, Coriolanus. Hi. 1 ; contempt for, Co- 
riolanus, Hi. 1-3 ; defied, Coriolanus, Hi. 3 ; repent the banishment, 
Coriolanus, iv. 6. See People, Populace. 

Plenty, breeds cowards, Cymbeline, Hi. 6. 

Plodding, in books, Love's Labour's Lost, i. 1; prisons the 
spirits, Love's Labour's Lost, iv. 3. 

Plots : against Falstaff, Merry Wives of Windsor, ii. 1 ; Hi. 3, 
5 ; iv. 2, 4; v. 2-5 ; Ford's, Merry Wives of Windsor, ii. 2 ; against 
Benedick and Beatrice, Much Ado about Nothing, ii. 3; Hi. 1; 
against Hero, Much Ado about Nothing, H. 2 ; of Hortensio and 
Petruchio, Taming of the Shrew, i. 2 ; of Lucentio and Tranio, Tam- 
ing of the Shrew, i. 1 ; of Helena, AWs Well that Ends Well, Hi. 7 ; 
against Parolles, All's Well that Ends Well, Hi. 6 ; iv. 1 ; to commit 
murder, A Winter's Tale, i. 2 ; to rob, A Winter's Tale, iv. 2 or 3 ; 
of the Abbot of Westminster, Richard II., iv. 1; v. 2, 3, 6; of the 
Percys, I. Henry IV., i. 3 ; ii. 3 ; against Clarence, Richard III., 
i. 1 ; against Hamlet, Hamlet, iv. 7 or 4 ; of Edmund against Edgar, 
King Lear, i. 2 ; ii. 1 ; of Iago, Othello, ii. 1 % last part ; of Pisanio, 
Cymbeline, Hi. 4; of Cloten, Cymbeline, Hi. 5. 

Plunder, soldiers', I. Henry IV., iv. 2, "They'll find linen 
enough on every hedge ; " wrangled over, Richard III., i. 3. 

Plurisy (plethora, superabundance), Hamlet, iv. 7. 

Pluto, god of the infernal regions, Titus Andronicus, iv. 3 ; Lu- 
crece, I. 553 ; II. Henry IV., ii. 4 ,' Coriolanus, i. 4 ; Troilus and 
Cressida, v. 2. 

Plutus, god of riches, mine of, Julius Ccesar, iv. 3 ; alchemy of, 
AWs Well that Ends Well, v. 3 ; god of gold, Timon of Athens, i. 1. 

Po, the river, King John, i. 1. 

Pocket-picking, Falstaff's charge of, 7". Henry IV., Hi. 3. 

Poet(s), ink of the, Love's Labour's Lost, iv. 3 ; imagination of 
the, Midsummer-Night's Dream, v. 1 ; one early dead, Sonnet xxxii. ; 
read for his love, Sonnet xxxii. ; a rival, Sonnets Ixxx., Ixxxiv., Ixxxv. 

Poet, a, character in Timon of Athens, introduced in the first 
scene, seeking patronage from Timon. In v. 1 he comes to get gold, 
having heard of the treasure Timon has found. 

Poet (Marcus Favonius), a character in Julius Ccasar, who breaks 



276 INDEX TO SHAKSPERE'S WORKS. 

in on the quarrel of Brutus and Cassius in iv. 3, and is thrust out by 
Brutus. 

Poetry, the force of, Two Gentlemen of Verona, Hi. 2 ; direc- 
tions for making, Two Gentlemen of Verona, Hi. 2 ; lovers given to, 
As You Like It, Hi. 3; of love, Twelfth Night, i. 5, "Write loyal 
cantons," etc. ; contempt for, I. Henry IV., Hi. 1; spontaneous, Ti- ' 
mon of Athens, i. 1 ; beauty perpetuated in, Sonnets xv.-xix. ; Ixiii., 
Ixv., ci., cvii. ; of love, Sonnets xxi., xxxii., xxxviii., Iv. ; enduring, 
Sonnets Iv., Ix. ; sameness in, Sonnet Ixvi. ; immortality in, Sonnet 
Ixxxi.; beauty the inspiration of, Sonnets Ixxviii.-lxxx. ; Ixxxiv. ; 
defeats time, Sonnet c. ; inadequacy of, Sonnet ciii. ; and music, 
Passionate Pilgrim, viii. ; the muse of, invoked, Love's Labour's 
Lost, i. 2 ; golden cadence of, Love's Labour's Lost, iv. 2 ; bootless 
rhymes, Love's Labour's Lost, v. 2. 

Poins, or Pointz. one of the companions of the prince, introduced 
in I. Henry IV., in i. 2, and in II. Henry IV., in H. 2. In H. 4, of 
the second part, Falstaff explains why the prince loves him. 

Point-device (foppish, neat), Love's Labour's Lost, v. 1; As 
You Like It, Hi. 2 ; Twelfth Night, ii. 5. 

Points, Taming of the Shrew, Hi. 2 ; A Winter's Tale, iv. 3 or 
4, and elsewhere. Tags to fasten doublet and hose together. 

Poison(s), The Tempest, Hi. 3 ; alluding to the custom of hav- 
ing a taster for the food of the great, to prevent the administering 
of, King John, v. 6 ; effect of. King John, v. 7 ; physic in, 77. Hen- 
ry IV., i. 1, 2; mentioned, I. Henry VI, v. 4> Romeo and Juliet, 
ii. 3 ; King Lear, Hi. 4 ; Antony and Cleopatra, v. 2 ; penalty for 
selling, Romeo and Juliet, v. 1 ; supposed to swell the body, King 
John, v. 6 ; Julius Cwsar, iv. 3 ; effects of, Hamlet, i. 5 ; in the ear, 
■Hamlet, Hi. 2 ; iv. 7 ; given to Regan, King Lear, v. 3 ; asked for, 
Cymbeline, i. 5 ; v. 5. 

Poking-sticks, A Winter's Tale, iv. 3 or 4. Instruments to 
plait ruffles with. 

Polacks, the sledded, Hamlet, i. 1 ; iv. 4. 

Poland, winter in, Comedy of Errors, Hi. 2. 
■■. Pole, the north, Othello, ii. 1. 

Polemon, of Mede, Antony and Cleopatra, Hi. 6. 

Policy, in war, contempt for, Troilus and Cressida, i. 3 ; in ill 
opinion, Troilus and Cressida, v. 4,' combined with honour, Corio- 
lanus, Hi. 2 ; a heretic, Sonnet cxxiv ; plague of your, Henry VIII., 
Hi. 2 ; is from the devil, Timon of Athens, Hi. 3. 

Politeness. See Courtesy. 



INDEX TO SHAKSPERE'S WORKS. 277 

• Politician(s), management of, Coriolanus, ii. 3 ; a dead, Ham- 
let, v. 1 ; a scurvy, King Lear, iv. 6. 

Polixenes, King of Bohemia, in J. Winter's Tale. The jealousy 
of Leontes is aroused against him, and he would be murdered but 
for Camillo, who warns him and flees with him. He opposes the 
marriage of his son with the shepherdess, but gives consent when 
she is found to be the daughter of Leontes, King of Sicily. t He first 
appears in i. 2. 

Polonius, the lord chamberlain in Hamlet, first appears in i. 2. 
His advice to his son, i. 3, is said to be copied from John Lilly's ro- 
mance of "Euphues: the Anatomy of Wit," published in 1580; 
his advice to his daughter, i. 3 ; his death, Hi. 4. Polonius is offi- 
cious, confident in his own wisdom and vain of it. "Hamlet's 
ugly sarcasms seem disproportioned to his offences, which are the 
harmless folly of an old man, until we remember the annoyance and 
irritation one experiences when in deep feeling or perplexity, at 
the confident, self-satisfied, shallow judgment of some worldly-wise 
person who imagines his system of weights and measures to be in- 
fallible." 

Polydore. See Guiderius. 

Pomanders, A Winter's Tale, iv. 3 or 4. Little perfumed balls 
of paste worn as amulets. 

Pomegranate, I. Henry IV., ii. 4> Name of a room in an 
inn. See Bunch of Grapes. 

Pomewater (a kind of apple), Love's Labour's Lost, iv. 2. 

Pomfret (Pontefract), in Yorkshire, scene of Richard II., v. 5. 
Richard was confined in the dungeon of the castle ; Richard III, 
ii. 4 ; Hi. 2, 3. 

Pomp, what is, III. Henry VI., v. 2 ; loss of, Henry VIII., ii. 
3 ; take physic, King Lear, Hi. 4 ; the gate too narrow for pomp to 
enter, All's Well that Ends Well, iv. 5. 

Pompeius, Cneius, Pompey the Great (106-48 b. a), incorrectly 
mentioned as one of the nine worthies, Love's Labour's Lost, v. 1 ;. 
wars of, Henry V., iv. 1; celebration of the victory over his faction,' 
Julius Ceesar, i. 1; ingratitude toward, i. 1; at Pharsalia, v. 1; 
death of, II. Henry VI., iv. 1. He was killed as he was leaving a 
boat in which he was landing on the shore of Egypt, at the instance 
of the king's officers, who desired to propitiate Caesar. 

Pompeius, Sextus, Pompey the Younger, character in Antony 
and Cleopatra, introduced in ii. 1. His rebellion, i. 3, 4 / ***"■ 1 i his 
motives, ii. 6. 



278 INDEX TO SHAKSPERE'S WORKS. 

" The young Pompey, a frank but thoughtless soul, the image of 
political levity, opposed to the moderate Octavius, fights for the 
cause of freedom in company with pirates, foolishly brave* without 
friends. . . . This confidence rests on the predictions of hope, on the 
command of the sea, on the love of the people, on all the most de- 
ceitful things in the world." — Gervinus. 

Pompey, servant of Mrs. Overdone in Measure for Measure, in- 
troduced in i. 2, a circumlocutory rascal. 

Pompey's Porch., Julius Caisar, i. 3. At the theatre built by 
Pompey on the Campus Martius. Caesar was slain at the foot of the 
statue of Pompey, which stood there, not in the capitol. 

Pont, King of, Antony and Cleopatra, Hi. 6. 

Pontic Sea, the, Othello, in. 3. 

Ponton, Lord, I. Henry VI, i. 4. 

Poor, the, pride of, Twelfth Night, Hi. 1 ; sleep of, Henry V., 
iv. 1 ; sufferings of — fable of rich and, Coriolanus, i. 1 ; neglected, 
As You Like It, ii. 1 ; Timon of Athens, iv. 2. See also Adver- 
sity, Poverty. 

Poor-John (dried and salted hake), The Tempest, ii. 2 ; Romeo 
and Juliet, i. 1. 

Poor soul, the centre of my sinful earth, Sonnet cxhri. 

Pope, the (Innocent III.), his quarrel with John of England, 
King John, Hi. 1 ; the reconciliation, King John, v. 1, 2. 

Pope, the (Clement VII.), Henry VIII, ii. 2 ; Hi. 2. 

Popilius Lena, a senator in Julius Cozsar, introduced in Hi. 1. 

Popinjay (parrot), a, /. Henry IV., i. 3. 

Poppy, the, Othello, Hi. 3. 

Populace, the, excitement of, King John, iv. 2 ; treatment of 
the kings by, Richard II, v. 2 ; fickleness of, II. Henry IV., i. 3 ; 
Julius Cossar, i. 1; Hi. 2; applause of, Julius Caisar, i. 2. See 
People, Plebeians. 

Popularity, Richard II, i. 4; v. 2 ; I. Henry IV., iii.2 ; iv. 3 ; 
II. Henry IV., i. 3; Henry V., iv., chorus; Julius Co?sar, i. 3 ; 
Merchant of Venice, Hi. 2 ; Coriolanus, ii. 1, 3 ; ii. 2 ; Hamlet, iv. 
3, 5 ; Timon of Athens, i. 1 ; fickle, Antony and Cleopatra, i. 4 ,' II 
Henry VI, iv. 8 ; III. Henry VI, ii. 6 ; Hi. 1 ; iv. 8 ; (familiarity 
with the people), Henry V., i. 1. 

Pork, the eating of, Merchant of Venice, i. 3 ; Hi. 5. 

Porpentine (porcupine), II. Henry VI, Hi. 1; Troilus and 
Cressida, ii. 1 ; the fretful, Hamlet, i. 5 ; an inn called the, Comedy 
of Errors, Hi. 1 ; v. 1. 

Porpoises, signs of storm, Pericles, ii. 1. 



INDEX TO SHAKSPERE >S WORKS. 279 

Porringer, a pinked, Henry V1IL, v. 4. A cap shaped like a 
porringer. 

Port (gate), Antony and Cleopatra, i. 3, and elsewhere. 

Portage (port-holes), Henry V., Hi. 1. 

Portance (carrying on, progress), Othello, i. 3. 

Portents, Julius Cmsar, i. 3 ; ii. 2; Hamlet, i. 1; King John, 
Hi. 4; Richard HI., ii. 3 ; I. Henry IV., v. 1. See also Omens. 

Porter, a, character in Macbeth, ii. 3. His speeches are gener- 
ally attributed to some other hand, though Dowden thinks they 
show that of Shakspere. Schiller in his translation substitutes a 
pious morning hymn for the porter's speech. Coleridge is positive 
that the actors interpolated the character, and Shakspere, finding 
it take with the mob. added the words from " I'll devil-porter it no 
further." Quite a different view is taken of the part by Ulrici, who 
says : " But the ordinary and every-day portion of society having 
been introduced, it must be depicted in complete truth, and there- 
fore also in the comic light which is thrown upon it from its dispro- 
portionateness. Even the part of the Porter in Macbeth, over whose 
drunken drowsiness and silly meditations the fearful destiny which 
is to affect him and his country so deeply sweeps by without a trace, 
possesses so solemn- a seriousness and tends so greatly to heighten 
the tragic effect that it could on no account be left out." 

Portia, the heroine of the Merchant of Venice, first appears in 
i. 2. She is, perhaps, in the variety and degree of her fine qualities, 
the noblest character among Shakspere's women. Though a child 
of fortune, she is full of ready sympathy for those who suffer ; 
though impulsive and ardent, her high sense of honour will not per- 
mit her to give her lover the slightest hint as to the caskets in the 
choice that involves her whole happiness ; though provided with a 
decision that will do her intellect the greatest honour in the court- 
room, she does not bring it forward until she has done her utmost 
by womanly persuasion to bring the Jew to relent on considerations 
of mercy and humanity. She is witty, clear-sighted, generous, elas- 
tic in temperament, prompt and decided in action. 

Portia, wife of Brutus, character in Julius Cmsar, first appears 
in i. 2 ; her death, iv. 3. Unwilling to be excluded from the coun- 
sels Of her husband, Portia inflicted a wound upon herself to prove 
her courage and fortitude. When Brutus fled from Rome after An- 
tony's success, she fell into despair and slew herself. 

Portrait(s), description of a, Merchant of Venice, Hi. 2 ; two 
contrasted, Hamlet, Hi. 4 ; love of a, Two Gentlemen of Verona, iv. 4- 



280 INDEX TO SHAKSPERE'S WORKS. 

Portugal, Bay of, As You Like It, iv. 1. 

Possess (inform), Merchant of Venice, i. 3, and elsewhere. 

Possession, Much Ado about Nothing, iv. 1, "What we have 
we prize not," etc. ; disillusionment of, Troilus and Cressida, i. 2, 
"Women are angels," etc.; Antony and Cleopatra, i.4; Lucrece, 
I. 8G7 ; have is have, King John, i. 1. 

Possessions, that men glory in, Sonnet xci. 

Post, Comedy of Errors, i. 2. Allusion to the practice of scoring 
accounts on posts. 

Posthumus Leonatus, character in Cymbeline, Imogen's hus- 
band, introduced in the first scene, where he is described. His 
wager, i. 4; he orders the death of Imogen, Hi. 2 ; his vision, if. 4; 
his bravery, v. 5. 

" His jealousy is not heroic, like Othello's ; it shows something of 
grossness unworthy of his truer self. In due time penitential sorrow 
does its work ; his nobler nature reasserts itself." — Dowden. 

Posy (motto), of a ring, Hamlet, Hi. 2. 

Potato, the, Merry Wives of Windsor, v. 5. 

Potents (powers or forces), King John, ii. 1 or 2, 

Pouncet-box, I. Henry IV., i. 3. A perforated box for carrying 
perfumes in. 

Pourquoi (why), Twelfth Night, i. 3. 

Poverty, desperate — my, consents, not my will, Romeo and Ju- 
liet, v. 1 ; is bold, Timon of Athens, Hi. 4 ; enforced, and willing, 
Timon of Athens, iv. 3 ; appearance of, King Lear, ii. 3 ; sufferings 
of, King Lear, Hi. 4; makes vices apparent, King Lear, iv, 4> 
makes tame, King Lear, iv. 6. See Adversity and Poor, the. 

Powder, food for, I. Henry IV., iv. 2 ; a skill-less soldier's, 
Romeo and Juliet, Hi. 3 ; (to salt), I. Henry IV., v. 4> 

Power, just, The Tempest, v. 1 ; abuse of, Measure for 3£easure, 
ii. 4; worn out before well put on, Coriolanus, Hi. 2 ; of a soldier 
in time of peace, Coriolanus, iv. 7 ; corrupting influence of, Mac- 
beth, iv. 3 ; cannot bear remonstrance, King Lear, i. 1; do courtesy 
to wrath, King Lear, Hi. 7 ; unlimited, Henry VIII., ii. 2. See 
also Authority, Greatness. 

Poysam, the Papist, All's Well that Ends Well, i. 3. 

Practice, and preaching, Merchant of Venice, i. 2 ; I. Henry 
VI., Hi. 1 ; Hamlet, i. 3. 

Practice (strategy, trickery), Measure for Measure, v. 1 ; King 
Lear, ii. 1 ; Othello, v. 2. 

Practisants (plotters), 7. Henry VI., Hi. 2. 



INDEX TO SHAKSPERE'S WORKS. 281 

Praemunire, Henry VIII., Hi. 2, A writ against one who sets 
up another authority than the king's. 

Prague, hermit of, Twelfth Night, iv. 2. 

Praise, of a daughter, The Tempest, iv. 1 ; of Angelo, Measure 
for Measure, i. 1; ironical, Measure for Measure, v. 1; of self, 
Much Ado about Nothing, v. 2 ; Troilus and Cressida, i. 3, speech 
of JEneas ; for the sake of, Love's Labour's Lost, iv. 1 ; a seller's, 
Love's Labour's Lost, iv. 3 ; envy roused by, As You Like It, ii. 3; 
v. 1 ; of what's lost, All's Well that Ends Well, v. 3 ; in poetry, gen- 
erally feigned, Twelfth Night, i. 5 ; influence of, on women, A Win- 
ter's Tale, i. 2, " Cram us with," etc. ; Falstaff's, of himself, I Hen- 
ry IV., ii. 4; for bravery, Coriolanus, i.9 ; ii. 2 ; bought, Timon of 
Athens, ii, 2 ; daily, found harmful, Timon of Athens, iv. 3 ; of 
Posthumus, Cymbeline, i. 1 ; in verse, Sonnet xvii. ; gross, Sonnet 
Ixxxii. ; cry amen to, like unlettered clerk, Sonnet Ixxxv. 

Prat, Mother, name applied to Falstafl in disguise, Merry Wives 
of Windsor, iv. 2. 

Prayer(s), The Tempest, i. 1 ; assaults mercy, The Tempest, v., 
epilogue; for another, Two Gentlemen of Verona, i. 1; fault of be- 
ing given to, Merry Wives of Windsor, i. 4', true, Measure for 
Measure, ii. 2 ; temptation where, cross, Measure for Measure, ii. 
2 ; empty, Measure for Measure, ii. 4 ; death believed to be has- 
tened by, I. Henry VI., i. 1 ; daily, II. Henry VI, ii. 1, " Let never 
day nor night," etc. ; of Edward IV., III. Henry VI, ii. 3 ; of the 
king, Henry V, iv. 1 ; pretence of, Richard III, Hi. 7 ; of Rich- 
mond, Richard III., v. 3, 5; twofold force of — words, without 
thoughts, Hamlet, Hi. 3 ; for Othello, ii. 1 ; before death, Othello, 
v. 2 ; profit in loss of one's, Antony and Cleopatra, ii. 1 ; in a storm, 
Pericles, Hi. 1 ; need of, Romeo and Juliet, iv. 3 ; the Lord's, see 
Lord's Prayer, the. 

Preaching, and practice. See Practice. 

Precaution, before building, II. Henry IV., i. 3 ; in time of 
feast, Timon of Athens, iv. 3. 

Precedent (first draft), King John, v. 2. 

Precept(s), and practice, offered in sorrow, Much Ado about 
Nothing, v. 1. See Practice. 

Precepts (warrants), II. Henry IV, v. 1. . 

Precipices. See Cliffs. 

Precision, of a hvpocrite, Measure for Measure, i. 4, 5. 

Predictions. See Prophecy. 

Preferment, goes by favour, Othello, i. 1. 



282 INDEX TO SHAKSPERE'S WORKS. 

Prejudice, All's Well that Ends Well, v. 3 ; Hamlet, i. 4 ; re- 
ligious, Merchant of Venice, Hi. 1. 

Prejudice (injure), I. Henry VI., Hi. 3. 

Prenzie. See Guards. 

Presages, ill, Venus and Adonis, I. 457. See also Omens, Por- 
tents, Presentiments. 

Present, the, should be used, All's Well that Ends Well, v. 3, 
" Let's take the instant," etc. ; Timon of Athens, v. 1, " When the 
day serves," etc. ; seems worst, II. Henry IV., i. 3; worth of what 
is done in, Iroilus and Cressida, Hi. 3 ; this ignorant, Macbeth, i. 
5 ; sacrifice of the future to, Antony and Cleopatra, i. 4. 

Presentiments, of the dying, Richard II., ii. 1 ; of evil, Rich- 
ard II., ii. 2 ; Richard III., ii. 3 ; of untimely death, Romeo and 
Juliet, i. 4, end ; Hi. 5 ; in a haunting song, Othello, iv. 3, " My 
mother had a maid," etc. 

Presents, to the rich, Timon of Athens, i. 2. 

Prest (ready), Merchant of Venice, i. 1. 

Prester John, length of his foot, Much Ado about Nothing, 
ii. 1. Prester John was a name applied to the Kings of Ethiopia or 
Abyssinia. It is said to be a corruption of Belul Oian, precious 
stone, the first word having been translated and then corrupted 
into Presbyter, and then Prester. The precious stone was in a legen- 
dary ring said to have been given to the Queen of Sheba by Solo- 
mon, and left by her to her descendants. 

Presumption, in ascribing to the act of men the help of Heav- 
en, All's Well that Ends Well, ii. 1. 

Pretence (plot), the undivulged, Macbeth, ii. 3. 

Prevent (anticipate, forestall), Twelfth Night, Hi. 1 ; I. Henry 
VI, iv. 1. 

Prevention (discovery), Julius Cozsar, ii. 1. 

Priam, King of Troy, character in Troilus and Cressida, intro- 
duced in ii. 1 ; allusions to : All's Well that Ends Well, i. 3 ; II. 
Henry IV, i. 1; III. Henry VI., ii. 5 ; Hamlet, ii. 2; Lucrece, 
lines 1448, 1466, 1485, 1548. 

Priapus, Pericles, iv. 6. 

Pribbles, and prabbles, Merry Wives of Windsor, i. 1 ; v. 5. 

Prick-song, Romeo and Juliet, ii. 4. Written music. 

Pride, of authority, Measure for Measure, ii. 2 ; fallen with for- 
tunes, As You Like It, i. 2 ; universality of, As You Like It, ii. 7 ; 
without contempt or bitterness, All's Well that Ends Well, i. 2 ; 
must have a fall, Richard II., v. 5 ; loses men's hearts, I. Henry 



INDEX TO SHAKSPERE'S WORKS. 283 

IV., Hi. 1 ; of a plebeian, Henry VIIL, i. 1 ; broken, Henry V11L, 
Hi. 2 ; Troilus and Cressida, i. 3, end ; ii.3 ; no glass but, Troilus and 
Cressida, Hi. 3 ; of blood and rank, Coriolanus, i. 1 ; ii. 1 ; Hi. 1, 
2; ever taints the prosperous, Coriolanus, iv. 7 ; in humiliation, 
Timon of Athens, iv. 3, " Not by his breath," etc. ; accusation of, 
King Lear, i. 1 ; in possessions, Sonnet xci ; of the poor, Twelfth 
Night, Hi. 4,' Eve's legacy, Two Gentlemen of Verona, Hi. 1; small 
things make base men proud, 77. Henry VI., iv. 1. 

Priest(s), no, shovels in dust, A Winter's Tale, iv. 3 or 4- It 
was customary for the priest to throw in earth in the form of a cross. 
A meddling, King John, Hi. 1; churlish, Hamlet, v. 1; when, are 
more in word than matter, King Lear, Hi. 2. 

Primero, or prime, Merry Wives of Windsor, iv. 5 ; Henry 
VIIL, v. 1. An old game of cards. 

Primogeniture, rights of, As You Like It, i. 1. 

Primroses, A Winter's Tale, iv. 3 or 4. ; Midsummer -Night's 
Dream, i. 1 ; II. Henry VI, Hi. 2 ; Cymbeline, iv. 2. 

Primrose Way, the. to the everlasting bonfire, Macbeth, ii. 3 ; 
the primrose path of dalliance, Hamlet, i. 3. 

Prince(s), must maintain their dignity. Comedy of Errors, i. 1; 
lions will not touch a true, I. Henry IV., ii. 4; unworthy conduct 
of a, I. Hairy I V., Hi. 1 ; empty honours of, Richard III, i. 4. ; 
favours of, Henry VIIL, Hi. 2 ; deaths of, foreshadowed, Julius 
Caisar, ii. 2 ; like tops of trees, Pericles, i. 2 ; a model, Pericles, ii. 
2 ; glass for subjects, Lucrece, I. 615 ; favourites of, Sonnet xxv. 

Princes in the Tower, the, Richard III, Hi. 1 ; iv. 1 ; their 
murder planned, iv. 2 ; executed, iv. 3 ; their ghosts, v. 3. See also 
Edward and Richard. 

Princox (a pert boy), Romeo and Juliet, i. 5. 

Print, in (with exactness), Love's Labour's Lost, in. 1. 

Prints (impressions), credulity to, Measure for Measure, ii. 4> 

Priscian, a little scratched, Love's Labour's Lost. v. 1. He was 
a Roman grammarian, who flourished about 500 A. d. 

Priser (fighter), As You Like It, ii. 3. 

Prison(s), scenes in, Measure for Measure, ii. 3 ; Hi. 1 ; A Win- 
ter's Tale, ii. 2; a, compared with the world, Richard II, v. 5 ; the 
mind makes a, Hamlet, ii. 2 ; let's away to, King Lear, v. 3. 

Prisoners, description of, Measure for Measure, iv. 3 ; dispute 
about, I. Henry IV, i. 3; slaughter of, at Agincourt, Henry V., 
iv. 7 ; it is not for, to be too silent in their words, Love's Labour's 
Lost, i. 2. 

25 



284: INDEX TO SHAKSPERE'S WORKS. 

Prisoner's base, allusions to the game of, Two Gentlemen of 
Verona, i. 2 ; Cymbeline, v. 3. 

Probal (probable), Othello, ii. 3. 

Process (summons), Antony and Cleopatra, i. 1. 

Procession, coronation, Henry VIII., iv. 1. 

Proclamation, Measure for Measure, i. 2. 

Procrastination, cowardly, Hamlet, iv. 4 or 1. See Delay. 

Proems, not Shafalus to, was so true, Midsummer - Night's 
Dream, v. 1. Alluding to the story of Cephalus and his wife Pro- 
cris. She was told that he had been overheard to say when resting 
from the chase, " Sweet Aura (air), come and fan me ! come, gentle 
Aura ! " Supposing Aura to be a woman, she was aroused to jeal- 
ousy, and crept through the bushes one day to surprise him at his 
resting-place. But he, hearing the rustling, and supposing a wild 
beast was about to spring upon him, discharged an arrow, by which 
Procris was mortally wounded. 

Proculeius, a friend of Caesar in Antony and Cleopatra, intro- 
duced in v. 1, where Caesar sends him with a message to Cleopatra ; 
his interview with her, v. 2. 

Prodigality, Timon of Athens, i. 1, 2. 

Prodigal son, the, the calf that was killed for, Comedy of 
Errors, iv. 3 ; chamber painted with the story of, Merry Wives of 
Windsor, iv. 5 ; alluded to, I. Henry 1 V., iv. 2. 

Prodigies. See Omens, Portents. 

Prodigious (prodigal), Two Gentlemen of Verona, ii. 3. 

Proditor (traitor), I. Henry VI., i. 3. 

Proface (pro vi faccia, may it do you good), II. Henry IV., v. 3. 

Proffers, unaccepted, AWs Well that Ends Well, ii. 1. 

Profligacy, burns out, Richard II, ii. 1. 

Progeny (progenitors), Coriolanus, i. 8. 

Progne, Titus Andronicus, v. 2. Sister of Philomela and wife 
of Tereus. She was changed into a swallow. See Tereus. 

Prolixious (delaying), Measure for Measure, ii. 4- 

Prologue, to a special nothing, All's Well that Ends Well, ii. 1. 

Prologues or choruses are introduced at the beginning of each 
act in Henry V., of Acts i. and ii. of Romeo and Juliet, and at the 
beginning of Henry VIII. 

Promethean fire, the, Love's Labour's Lost, iv. 3 ; Promethean 
heat, Othello, v. 2. Prometheus stole fire from heaven for men, and 
was condemned to perpetual imprisonment on Mount Caucasus, 
where a vulture continually gnawed his vitals. 



INDEX TO SHAKSPERE'S WORKS. 285 

Prometheus, tied to Caucasus, Titus Andronicus, ii. 1. 

Promise, and performance, Timon of Athens, v. 1 ; kept to the 
ear, Macbeth, v. 7. 

Promises, Timon of Athens, i. 2, (i His, so fly beyond his state," 
etc. : Merchant of Venice, iv. 1, " Liberal in offers ; " like Adonis's 
gardens, I. Henry VI., i. 6 ; mighty, Henry VIII, iv. 2 ; of the 
king, I. Henry IV., iv. 3. 

Promontory, a strong-based, The Tempest, v. 1; the earth a 
sterile, Hamlet, ii. 2. 

Promotion, service for, As You Like It, ii. 3 ; many so arrive 
at second masters, upon their first lord's neck, Timon of Athens, 
iv. 3. 

Promptness, AIVs Well that Ends Well, v. 3, " Let's take the 
instant," etc. ; Julius Ccesar, iv. 3, " There is a tide," etc. ; Macbeth, 
i. 7, " If 'twere done when 'tis done," etc. ; anticipating time, Troilus 
and Cressida, iv. 5 ; we must do something, and in the heat, King 
Lear, i. 1. See also Opportunity. 

Pronunciation, criticism on, Love's Labour's Lost, v. 1. 

Proof, of men, the true, Troilus and Cressida, i. 3 ; the ocular, 
Othello, Hi. 3 ; let, speak, Cymbeline, Hi. 1 ; let the end try the 
man, II. Henry IV, ii. 2. 

Proof, lapped in (covered with armour of proof), Macbeth, 
i.2. 

Proper-false (handsome and deceitful), Twelfth Night, ii. 2. 

Propertied (taken possession of), Twelfth Night, iv. 2 ; (en- 
dowed), Antony and Cleopatra, v. 2. 

Property, in slaves, Merchant of Venice, iv. 1. 

Prophecy, by magic art, The Tempest, i. 2 ; a, King John, iv. 
2 ; gift of, at death, Richard II., ii. 1; of Merlin, I. Henry IV, Hi. 
1 ; the king was the moldwarp, and the conspirators a dragon, a 
lion, and a wolf, that should divide the realm among themselves ; of 
Richard II., II. Henry IV, Hi. 1; may be drawn from history, 11. 
Henry IV, Hi. 1 ; of the king's death, II. Henry IV, iv. 4, end; of 
Henry V., I. Henry VI, v. 1 ; as to Henry VI., /. Henry VI., Hi. 1 ; 
regarding Suffolk, II. Henry VI., i. 4 ; iv. 1 ; regarding Somerset, 
II. Henry VI., i. 4; v. 2 ; "The Castle "was the sign of an ale- 
house ; by Margaret, Richard III, i. 3 ; iv. 4; v. 1 ; regarding the 
princess, Richard III, i. 1 ; regarding Richmond, Richard III., iv. 
2 ; of Nicholas Hopkins, Henry VIII., i. 2 ; Wolsey's, of his death, 
Henry VIII, iv. 2 ; Cranmer's, concerning Elizabeth and James I., 
Henry VIII, v. 5 ; of Cassandra, Troilus and Cressida, ii. 2 ; of 



286 INDEX TO SHAKSPERE' S WORKS. 

Ulysses, Troilus and Cressida, iv. 5 ; of Hector's death, Troilus and 
Cressida, v. 3 ; to Ca?sar, Julius Ccesar, i. 2 ; of the witches, Mac- 
beth, i. 3; Hi. 1; of the fool, King Lear, Hi. 2, end; found by 
Posthumus, Cijmbeline, v. 4. 

Prophets, jesters oft prove, King Lear, v. 3 ; lean-looked, Rich- 
ard 11., a. 4. 

Propontic, the, Othello, in. 3. 

Proposing 1 (conversing), Much Ado about Nothing, Hi. 1. 

Propriety, the proper self, Twelfth Night, v. 1. 

Prorogue (prolong), Pericles, v. 1. 

Proscription, by Antony, Octavius, and Lepidus, Julius C&sar, 
iv. 1. It really took place, not in Rome, but on an island near 
Bologna. 

Proserpina, A Winter's Tale, iv. 3 or 4; Troilus and Cres- 
sida, ii. 1. 

Prosperity, the bond of love, A Winter's Tale, iv. 3 ; begins to 
mellow, Richard III., iv. 4 ; all men akin in, Troilus and Cressida, 
i. 3 ; dangerous, Julius Coesar, ii. 1, " It is the bright day," etc. ; 
friends in, Samlet, ii, 2, " It is not very strange," etc. 

Prospero, the rightful Duke of Milan, character in The Tempest, 
introduced in i. 2. He has acquired magic art by long study, which 
cost him his throne, for his brother Antonio has taken advantage of 
his inattention to outside affairs to usurp his throne, and send him 
and his little daughter to perish at sea. On the island where they 
are cast he makes use of his magic art to hold in subjection Caliban 
and the spirits of the air. Though a fine and noble character, and a 
most loving and tender father, Prospero repels us by his severity 
with Ariel ; but this severity we excuse on further study of the airy 
spirit. See Ariel. 

"Prospero, the great enchanter, is altogether the opposite of the 
vulgar magician. With command over the elemental powers, which 
study has brought to him, he possesses moral grandeur and a com- 
mand over himself, in spite of occasional fits of involuntary abstrac- 
tion and of intellectual impatience ; he looks down on life, and sees 
through it, yet will not refuse to take his part in it. . . . It has been 
suggested that Prospero, the great enchanter, is Shakspere himself, 
and that when he breaks his staff, drowns his book, and dismisses 
his airy spirits, going back to the duties of his dukedom, Shakspere 
was thinking of his "own resigning of his powers of imaginative en- 
chantment, his parting from the theatre, where his attendant spirits 
had played their parts, and his return to Stratford." — Dowden. 

Protector, the Lord, Gloucester's (Richard III.'s) title after the 
death of Edward IV., as guardian of the young king. 



INDEX TO SHAKSPERE'S WORKS. 287 

Protestations, of innocence, A Winter's Tale, Hi. 2 ; of love, 
Richard III., iv. 4 ,' too many, Hamlet, Hi. 2. 

Proteus, III. Henry VI., Hi. 2. He was a son of Neptune, and 
changed his shape at will. 

Proteus, one of the Two Gentlemen of Verona, keener and 
brighter than his friend Valentine, whom he tries to supplant, but 
fickle and treacherous. 

Proud, the, respect only the proud, I. Henry IV., i. 3. 

Proverbs, on tapestry and in rings, As You Like It, Hi. 2. 

Proverbs and Proverbial Expressions, quoted or alluded to : 
A crafty knave needs no broker, II. Henry VI., i. 2 ; a finger in 
every pie, Henry VIII., i. 1 ; a fool's bolt is soon shot, As You Like 
It, v. 4 ; Henry V., Hi. 7 ; a friend in the court is as good as a penny 
in the purse, II. Henry IV., v. 1 ; a good candle-holder proves a good 
gamester, Romeo and Jidiet, i. 4 ; a little pot is soon hot, Taming of 
the Shrew, iv. 1; all men are not alike, Much Ado about Nothing, 
Hi. 5 ; all's well that ends well, All's Well that Ends Well, iv. 4; 
v. 1 ; all that glisters is not gold, Merchant of Venice, ii. 7 ; a man 
must not choose a wife in Westminster, a servant in Paul's, or a 
horse in Smithfield, lest he choose a quean, a knave, or a jade, II. 
Henry IV., i. 2 ; see Paul's; an old cloak makes a new jerkin, 
Merry Wives of Windsor, i. 3 ; an old man is twice a child, Hamlet, 
ii. 2 ; an two men ride of a horse, one must ride behind, Much Ado 
about Nothing, Hi. 5 ; a pair of shears went between us, Measure 
for Measure, i. 2, 3 ; a pox of the devil, Henry V., Hi. 7 ; as mad as 
a March hare, Two Noble Kinsmen, Hi. 5 ; a smoky house and a 
railing wife, I. Henry IV., Hi. 1 ; a snake in the grass, II. Henry 
VI., Hi. 1 ; as sound as a bell, Much Ado about Nothing, Hi. 2 ; a 
staff is quickly found to beat a dog, 11. Henry VI, Hi. 1 ; as true as 
steel, Troilus and Cressida, Hi. 2 ; at hand, quoth pick-purse, 1. 
Henry IV, ii. 1; a wise man may live anywhere, Richard II, i. 3 ; 
a woman will not tell what she does not know, I. Henry 1 V., ii. 3 ; 
a world to see, Much Ado about Nothing, Hi. 5 ; ay, tell me that and 
unyoke, Hamlet, v. 1. Bairns are blessings, All's Well that Ends 
Well, i. 3 ; be jogging while your boots are green, Taming of the 
Shrew, Hi. 2 ; beggars mounted run their horses to death, III. Hen- 
ry VI, i. 4 ; better a witty fool than a foolish wit, Twelfth Night, 
i. 5 ; better fed than taught, All's Well thai Ends Well, ii. 2 ; birds 
of a feather, III. Henry VI, Hi. 3 ; black men are pearls in beau- 
teous ladies' eyes, Two Gentlemen of Verona, v. 2 ; blessing of your 
heart, you brew good ale, Two Gentlemen of Verona, Hi. 1 ; blush 



INDEX TO SHAKSPERE'S WORKS. 

like a black dog, Titus Andronicus, v. 1 ; bought and sold, Comedy 
of Errors, Hi. 1 ; King John, v. 4 ; Richard III., v. 3 ; Brag's a 
good dog, but Hold-fast is better, Henry V.. ii. 3 ; buttered the 
horse's hay, King Lear, ii. 4. Cake is dough, Taming of the Shrew, 
i. 1; v. 1 ; care killed a cat, 3Iuch Ado about Nothing, v. 1 ; carry- 
coals to Cancer, Troilus and Cressida, ii. 3 ; come cut and long-tail, 
Merry Wives of Windsor, Hi. 4 ; comparisons are odorous, Much Ado 
about Nothing, Hi. 5 ; confess and be hanged, Othello, iv. 1 ; cry 
him and have him, As You Like It, i. 3 ; cry you mercy, I took you 
for a joint-stool, King Lear, Hi. 6 ; cucullus non facit monachum 
(the cowl does not make the monk), Measure for Measure, v. 1 ; 
Twelfth Night, i. 5 ; Henry V1IL, Hi. 1. Dance barefoot at the 
wedding, Taming of the Shrew, ii. 1 (said of an elder unmarried 
sister); dead as a door-nail, //. Henry IV., v. 3 ; II. Henry VI, iv. 
10; death will have his day, Richard II, Hi. 2 ; delays are danger- 
ous, I. Henry VI, Hi. 2 ; diluculo surgere saluberrimum est (to rise 
early is most healthful), Twelfth Night, ii. 3 ; dogs must eat, Corio- 
lanus, %. 1; dun's the mouse, Romeo and Juliet, i. 4. Empty vessels 
sound loudest, Henry V., iv. 4; every dog has his day, Hamlet, 
v. 1 ; every man at forty is a fool or a physician, Merry Wives of 
Windsor, Hi. 4; every man to his trade, Romeo and Juliet, i. 2; 
every why has a wherefore, Comedy of Errors, ii. 2. Familiarity 
breeds contempt, Merry Wives of Windsor, i. 1; fast bind, fast 
find, Merchant of Venice, ii. 5 ; feast-won, fast-lost, Timon of 
Athens, ii. 2 £ finis coronat opus (the end crowns the work), AWs 
Well that Ends Well, iv. 4; II Henry VI, v. 2 ; Troilus and Cres- 
sida, iv. 5 ; fire that's closest kept burns most of all, Two Gentlemen 
of Verona, i. 2 ; fly pride, says the peacock, Comedy of Errors, iv. 
3 ; friends may meet, but mountains never greet, As You Like It, 
Hi. 2. Give the devil his due, i". Henry IV., i. 2 ; Henry V., Hi. 7 ; 
God's a good man, Much Ado about Nothing, Hi. 5 ; God sends a 
cursed cow short horns, Much Ado about Nothing, ii. 1 ; God sends 
a fool fortune, As You Like It, ii. 7 ; good hanging prevents bad 
marriage, Twelfth Night, i. 5 ; good liquor will make a cat talk, The 
Tempest, ii. 2 ; good wine needs no bush, .As You Like It, v. 4, epi- 
logue ; to bed at noon, to supper, etc., King Lear, Hi. 6. Hanging and 
wiving go by destiny, Merchant of Venice, ii. 9 ; happy man be his 
dole, Taming of the Shrew, i. 1; A Winter's Tale, i. 2 ; I Henry 
IV., ii. 2 ; happy the child whose father went to the devil, III. 
Henry VI, ii. 3 ; have is have, however men do catch, King John, 
i. 1 ; Heaven's above all, Richard II, Hi. 3 ; Othello, ii. 3 ; he must 



INDEX TO SHAKSPERE'S WORKS. 289 

needs go that the devil drives, All's Well that Ends Well, i. 3 ; he 
that dies pays all debts, The Tempest, Hi. 2 ; he that eats with the 
devil needs a long spoon, The Tempest, ii. 2 ; Comedy of Errors, iv. 
3 ; he that will have a cake out of the wheat must tarry the grind- 
ing, Troilus and Cressida, i. 1 ; honest as the skin between his eye- 
brows, Much Ado about Nothing, Hi. 5 ; Honour's train is longer 
than his f oreskirt, Henry VIII., ii. 3 ; hunger breaks stone walls, 
Coriolanus, i. 1. If that you will France win, Then with Scotland 
first begin, Henry V, i. 2 ; ill blows the wind that profits nobody, 
II. Henry IV., v. 3 ; III. Henry VI., ii. 5 ; ill-gotten goods never 
prosper, III. Henry VI, ii. 2 ; I'll make a shaft or a bolt, Merry 
Wives of Windsor, Hi. 4; Ill-will never said well, Henry V., Hi. 7 ; 
it is a foul bird that defiles its own nest, As You Like It, iv. 1 ; it is 
an ill cook that cannot lick his own fingers, Romeo and Juliet, iv. 2 ; 
it is a poor dog that is not worth the whistle, King Lear, iv. 2 ; it is 
easy stealing a shive from a cut loaf, Titus Andronicus, ii. 1 ; it's a 
dear collop that's cut from one's own flesh, I. Henry VI, v. 4. Jack 
shall have Jill, Love's Labour's Lost, v. 2 ; Midsummer-Night's 
Bream, Hi. 2 ; John Drum's entertainment, AlVs Well that Ends 
Well, Hi. 6. Know a hawk from a hand-saw, Hamlet, ii. 2. Laid on 
with a trowel, As You Like It, i. 2 ; lead apes in hell, Much Ado 
about Nothing, ii. 1; Taming of the Shrew, ii. 1; fits all, like a 
barber's chair, All's Well that Ends Well, ii. 2 ; losers have leave 
to talk, Titus Andronicus, Hi. 1 ; lost teeth in the service, As You 
Like It, i. 1. Make hay while the sun shines, III. Henry VI, iv. 8 ; 
measure for measure, Measure for Measure, v. 1 ; meat was made 
for mouths, Coriolanus, i. 1 ; misfortunes come not singly, Hamlet, 
iv. 5 ; more water glides by the mill than the miller wots of, Titus 
Andronicus, ii. 1. Neither fish nor flesh, I. Henry I V, Hi. 3 ; not a 
word to throw at a dog, As You Like It, i. 3; now she sharpens; 
well said, Whetstone, Troilus and Cressida, v. 2. Omittance is no 
quittance, As You Like It, Hi. 5 ; one born to be hanged will never 
be drowned, The Tempest, i. 1 ; one fire drives out one fire, Corio- 
lanus, iv. 7 ; one is no number, Romso and Juliet, i. 2 ; one may see 
day at a little hole, Love's Labour's Lost, v. 2 ; one nail drives out 
another, Coriolanus, iv. 7 ; out of God's blessing into the warm sun, 
King Lear, ii. 2. Past cure, past care, Love's Labour's Lost, v. 2 ; 
patience perforce is medicine for a mad dog, Romeo and Juliet, i. 5; 
pitch and pay, Henry V, ii. 3; pitchers have ears, Taming of the 
Shrew, iv. 4; poor and proud, Twelfth Night, Hi. 1; praise in de- 
parting, The Tempest, Hi. 3. Rules the roast, II. Henry VI., i. 1. 



290 INDEX TO SHAKSPERE'S WORKS. 

Satis quod sufficit, Love's Labour's Lost, v. 1; seldom comes the 
better, Richard III., ii. 3 ; service is no heritage, AIVs Well that 
Ends Well, i. 3 ; si fortuna, etc. (if fortune torment me, hope will 
content me), II. Henry IV., v. 5 ; she has the mends in her own 
hands, Troilus and Cressida, i. 1 ; sink or swim, I. Henry IV., i. 3 ; 
sits the wind in that corner, Much Ado about Nothing, ii. 3 ; small 
herbs have grace, great weeds do grow apace, Richard III., ii. 4 ; 
sold for a song, AIVs Well that Ends Well, Hi. 2 ; sow cockle, reap 
no corn, Loves Labour's Lost, iv. 3 ; speak by the card, Hamlet, v. 
1; springes to catch woodcocks, Hamlet, i. 3 ; steal an egg from a 
cloister, AIVs Well that Ends Well, iv. 3 ; still swine eat all the 
draff, Merry Wives of Windsor, iv. 2 ; still waters run deep, II. 
Henry VI, Hi. 1 ; strike while the iron is hot, III. Henry VI., v. 
1. Take all, pay all, Merry Wives of Windsor, ii. 2 ; take eggs for 
money (bear insults), A Winter's Tale, i. 2 ; take mine ease in mine 
inn, /. Henry IV., Hi. 3 ; tell the truth and shame the devil, I. Hen- 
ry IV., Hi. 1 ; the cat would eat fish but would not wet her feet, 
Macbeth, i. 7 ; the end crowns all, see Finis, etc. ; the ewe that will 
not hear her lamb when it baes will never answer a calf when it 
bleats, Much Ado about Nothitig, Hi. 3 ; the fool thinks he is wise, 
but the wise man knows he is a fool, As You Like It, v. 1 ; the 
galled jade will wince, Hamlet, Hi. 2 ; the grace of God is gear 
enough, Merchant of Venice, ii. 2 ; the hare's valour plucks dead 
lions by the beard, King John. ii. 1 ; the raven chides blackness, 
Troilus and Cressida, ii. 3 ; there is flattery in friendship, Henry V., 
Hi. 7 ; the third pays for all, Twelfth Night, v. 1 ; the weakest goes 
to the wall, Romeo and Juliet, i. 1; the world on wheels, Antony 
and Cleopatra, H. 7 ; three women and a goose make a market, 
Love's Labour's Lost, Hi. 1 ; touch pitch and be defiled, Much Ado 
about Nothing, Hi. 3 ; I. Henry IV., ii. 4; II. Henry VI., ii. 1; 
truth should be silent, Antony and Cleopatra, ii. 2 ; two may keep 
counsel when the third's away, Titus Andronicus, iv. 2. Walls hear 
without warnings, Midsummer-Night's Dream, v. 1 ; we burn day- 
light, Romeo and Juliet, i. 4 ; wedding and ill- wintering tame man 
and beast, Taming of the Shrew, iv. 1; when the age is in, the wit 
is out, Much Ado about Nothing, Hi. 5 ; while the grass grows, oft 
starves the steed, Hamlet, Hi. 2 ; woo in haste and wed at leisure, 
Taming of the Shrew, Hi. 2. 

Providence, work of. All's Well that Ends Well, ii. 1 ; we are 
in God's hand, Henry V., Hi. 6 ; Heaven has an end in all, Henry 
VIII., ii. 1 ; there's a divinity that shapes our ends, Hamlet, v. 2 ; 



INDEX TO SHAKSPERE'S WORKS. 291 

denies us for our good, Antony and Cleopatra, ii. 1 ; a special, in the 
fall of a sparrow, Hamlet, v. 2. See Heaven. 

Provincial, here (of this province), Measure for Measure, v. 1. 

Provost, a, or jailer, character in Measure for Measure, intro- 
duced in i. 3, a merciful man who seeks to mitigate the severity of 
Angelo's justice. 

Prudence, Much Ado about Nothing, ii. 1, " Let every eye nego- 
tiate for itself," etc. ; Henry V., ii. 3, " Trust none," etc. ; Henry 
VIIL, i. 1, " Be advised," etc. : Henry VIII., i. 2, " Things done 
well," etc. ; Richard III, in. 3, " When clouds are seen," etc. ; when 
about to build a house or a kingdom, II. Henry IV., i. 3 ; men do 
their broken weapons rather use than their bare hands, Othello, i. 3. 

Psalm, the hundredth, Merry Wives of Windsor, ii. 1. 

Psalmist, the, II. Henry IV., Hi. 2. 

Ptolemy, Antony and Cleopatra, Hi. 6. 

Publican, a fawning, Merchant of Venice, i. 3. 

Publius, son of Marcus, in Titus Andronicns, introduced in iv. 3. 

Publius Silicius, a senator and a friend of Caesar's, character 
in Julius Ccesar, introduced in ii. 2. 

Puck, or Robin Goodfellow, a fairy in the Midsummer-Nigh fs 
Dream, introduced in ii. 1. He is a merry jester, a sort of clown 
among the other daintier fairies. A book of his " Mad Pranks and 
Merry Jests" is known to have been published in 1628, but it is 
supposed that an edition had appeared forty years earlier. 

Pueritia (boyhood), Love's Labour's Lost, v. 1. 

Pugging" (thieving), A Winter's Tale, iv. 2 or 3. 

Puke-stocking (puce, a dark colour), 1. Henry IV., ii. 4. 

Pulpiter, most gentle, As You Like It, Hi. 2. Jupiter in some 
editions. 

Punctuation, Midsummer-Night 's Dream, v. 1, prologue, " Stand- 
ing upon points." 

Punishment, capital, argument on, Measure for Measure, ii. 2. 

Punishments, mentioned. See Baffle, Crown, Hack, Pil- 
lory, Rack, Stigmatic Stocks, Strappado, Wheel, Whipping, 
Wisp. 

Punning, Merchant of Venice, Hi. 5, "How every fool can 
play upon the word ; " Twelfth Night, Hi. 1. 

Punto (thrust), Merry Wives of Windsor, ii. 3 ; reverso (back- 
handed), Romeo and Juliet, ii. 4- 

Purchase, fourteen-years, Twelfth Night, iv. 1. Twelve was 
the usual time. 



292 INDEX TO SHAKSPERE'S WORKS. 

Purchase (profit), I. Henry IV., ii. 1. Purchase was also a 
slang term for stolen goods. 

Purgation (examination), As You Like It, v. 4. 

Purgatory, Hamlet, i. 5 ; Othello, iv. 3. 

Puritan(s), allusions to: Wear the surplice over the gown — 
meet Papists, All's Well that Ends Well, i. 3 ; Malvolio a kind of, 
Twelfth Night, ii. 3 ; sings psalms, A Winter's Tale, iv. 2 or 3 ; 
"Tribulation of Tower Hill," in Henry VIII, v. 4, is by some sup- 
posed to be an allusion to the Puritans. See Limehouse. 

Purples, Hamlet, iv. 7. The early purple orchis. 

Purpose, let not, be shaken with compunction, Macbeth, i. 5 ; 
the deed should go with the, Macbeth, iv. 1 ; slave to memory, Ham- 
let, Hi. 2, speech of Player King ; must weigh with the folly, II. Hen- 
ry 1 V., ii. 2. 

Pursuit, pleasure of, Merchant of Venice, ii. 6; Troilus and 
Cressida, i. 2 ; Antony and Cleopatra, iv% 7 ; III. Henry VI, ii. 5. 

Push-pin, game of, Love's Labour's Lost, iv. 3. It was played 
by simply pushing pins across one another. 

Putter-out of five for one, The Tempest, Hi. 3. That is, of 
money, as was done by voyagers to distant countries. If they did 
not appear to claim the five hundred per cent., the borrower kept 
the principal. 

Puttock (kite), Cymbeline, i. 1. 

Pygmalion, Measure for Measure, Hi. 2. Allusion to the ivory 
statue that he made, which was endowed with life by Venus. 

Pyramids, the, Sonnet cxxii ; Antony and Cleopatra, ii. 7 ; v. 2. 

Pyramus, a character in the play acted in the Midsummer- 
Night's Dream before the duke. The part is taken by Bottom. In 
the old story, Pyramus was the handsomest youth, and Thisbe the 
fairest maiden, in all Babylonia, where Semiramis reigned ; allusion 
to, Titus Andronicus, ii. 3 or 4. 

Pyramus and Thisbe, the play acted before the duke in Mid- 
summer-Night's Dream, i. 2 ; Hi. 1 ; v. 1. 

Pyrrhus, Troilus and Cressida, Hi. 3; Hamlet, ii. 2 ; Lucrece, 
lines 1449, 1467. He killed Priam. 

Pythagoras, doctrine of (transmigration of souls), Merchant of 
Venice, iv. 1 ; As You Like It, Hi. 2 ; Twelfth Night, iv. 2. 

Quails, fighting, Antony and Cleopatra, ii. 3. 
Quaint (neat, ingenious), Two Gentlemen of Verona, ii. 1 ; Hi. 
1 ; Taming of the Shrew, iv. 3, and elsewhere. 



INDEX TO SHAKSPERE'S WORKS. 293 

Quare (wherefore), Love's Labour's Lost, v. 1. 

Quarrel(s), no valour in a false, Much Ado about Nothing, v. 
1; between Hermia and Helena — Lysander and Demetrius, Mid- 
summer-Night's Dream, Hi. 2 ; the seven causes of, As You Like It, 
v. 4 ; between Laf eu and Parolles, All's Well that Ends Well, ii. 3, 
" Do you hear," etc. ; of Constance and Elinor, King John, ii. 1 ; 
should be left to Heaven, Richard II., i. 2 ; Richard III., i. 4; of 
Pistol and Nyin, Henry V, ii. 1 ; of an Irishman and a Welshman, 
Henry V., Hi. 2 ; of Pistol and Fluellen, Henry V., v. 1; of Boling- 
broke and Norfolk, Richard II., i. 1-3 ; II. Henry I V., iv. 1 ; of 
Vernon and Basset, I. Henry VI., Hi. 4 ; iv. 1 ; just, II. Henry VI., 
Hi. 2 ; among sons and brothers, III. Henry VI., i. 2 ; of Gloucester, 
Elizabeth, and Margaret, Richard III., i. 3 ; seeking a, Romeo and 
Juliet, Hi. 1 ; beware of entrance to, Hamlet, i. 3 ; a drunkard full 
of, Othello, ii. 3 ; between Antony and Cassar, Antony and Cleopatra, 
ii.2 ; between Plantagenet and Somerset, i". Henry VI., ii. 4; thrice 
is he armed that hath his quarrel just, 7/. Henry VI., Hi. 2. 

Quart d'ecu (about eightpence), All's Well that Ends Well, 
iv. 3. 

Quat (pimple), Othello, v. 1. 

Queen, Margaret asserts her right to be, Richard 111., i. 3 ; 
Anne would not be a, Henry VIII., ii. 3 ; over passion, King Lear, 
iv. 3; in jest, Richard III., iv. 4; of Carthage, see Dido. 

Queen of Night, thrice crowned, As You Like It, Hi. 2. Di- 
ana, Luna, Hecate, a triune goddess. 

Queen of Richard II. See Isabella. 

Queen, Cymbeline's, character in the play, first appears in scene 
i. She is the step-mother of Imogen, whom she hates for rejecting 
her son Cloten. She is able, crafty, and unscrupulous, and has com- 
plete ascendancy over Cymbeline. She gets the supposed poison, 
i. 5 ; her ability, ii. 1, end ; her death and confession, v. 5. 

Quell (murder), Macbeth, i. 7. 

Quern (hand-mill), Midsummer-Nighfs Dream, ii. 1. 

Questionable (conversable), Hamlet, i. 4. 

Questions, a lover's, As You Like It, Hi. 2. 

Quibbling. See Punning. 

Quickly, Mistress, hostess of the Boar's Head tavern in East- 
cheap, character in I. Henry 1 V., introduced in ii. 4 ; in II. Henry 
IV., introduced in ii. 1; and in Henry V., in ii. 1. In the latter 
play she is represented as married to Pistol, who speaks of her death 
in v. 1; she is also a character in the Merry Wives of Windsor, first 



294: INDEX TO SHAKSPERE'S WORKS. 

spoken of in *. 2, and introduced in i. 4- She is housekeeper and 
servant for Dr. Caius, and an agent for the suitors of Anne Page. 
The identity of the Mrs. Quickly of the comedy with the Mrs. 
Quickly of the historical plays has been questioned, but without 
much reason. 

Quicksilver, fled like, II Henry IV., ii. 4. 

Quiddits (quibblings, equivocation), Hamlet, v. 1. 

Qui est la ? Paysans, etc., 7. Henry VI., Hi. 2. Who is there ? 
Peasants, poor people of France. 

Quietus (settlement, as of accounts), Hamlet, Hi. 1. 

Quill, in the, II. Henry VI, i. 3. Of uncertain meaning; either 
in the quite, meaning heap, or in the coil, that is, in the confusion of 
the crowd. 

Quillets (quibbles), Love's Labour's Lost, iv. 3 ; I. Henry VI, 
ii. 4 ; II Henry VI, Hi. 1. 

Quills, the porcupine's, Hamlet, i. 5. 

Quince, Peter, a character in Midsummer- Night's Dream, intro- 
duced in i. 2. He is a carpenter, and takes the prologue in the play 
before the duke, and the character of Thisbe's father. He is the 
manager of the performance, and a poet as well, for Bottom says, 
" I will get Peter Quince to write a ballad of this dream." He makes 
some of the funniest blunders in the piece, and in the prologue 
" doth not stand upon points." 

Quintain, As You Like It, i. 2. A wooden figure on which 
young men practised, in their training in the use of arms. 

Quintus, son of Titus Andronicus in the play of that name, in- 
troduced in i. 1 or 2 ; falls into the grave of Bassianus, and is taken 
for his murderer, ii. 3 or 4; executed, Hi. 1. 

Quip modest, the. See Duelling. 

Quis (who), Love's Labours Lost, v. 1. 

Quit (avenge), King Lear, Hi. 7. 

Quod me alit, etc., Pericles, ii. 2. What nourishes, extin- 
guishes me. 

Quoint, Francis, mentioned in Richard II, ii. 1, as one of the 
companions of Bolingbroke. 

Quoits, the game of, II Henry IV., ii. 4- 

Quoniam (wherefore), Love's Labour's Lost, v. 2. 

Quotations, of Scripture, Richard III, i. 3; Merchant of Ven- 
ice, i. 3 ; Hi. 2. 

Quotations, in the plays. See Horace, Lilly, Ovid. Seneca, 
Sidney, and other names of authors quoted from. 



INDEX TO SHAKSPERE'S WORKS. 295 

Quoted (noticed), Hamlet, ii. 1. Pronounced and sometimes 
written cote. 

Quotidian (daily fever), of love, As You Like It, Hi. 2. 

R, the dog's name, Romeo and Juliet, ii. 4> Dogs were said to 
arre and bark. 

Rabato (ruff), Much Ado about Nothing, Hi. 4. 

Rabble, the, Hamlet, iv. 5 or 2 ; I. Henry IV., iv. 2. See 
Mobs, Multitude. 

Back, the. Measure for Measure, iv. 1 ; called an engine, King 
Lear, i. 4; Henry VI, ii. 5 ; of this tough world, King Lear, v. 3. 

Back (clouds), Antony and Cleopatra, iv. 12 or 14 ; Hamlet, ii. 2. 
The word in " leave not a rack behind," The Tempest, iv. 1, may 
have the same meaning, or may mean wreck, as in " rack and ruin." 

Rage, tiger-footed, Coriolanus, Hi. 1 ; deaf as the sea, hasty as 
fire, Richard II., i. 1 ; of the great, Antony and Cleopatra, iv. 1 ; 
labyrinth of fury, Troilus and Cressida, ii. 3 ; eyeless, King Lear, 
Hi. 1. 

Raggedness, looped and windowed, King Lear, Hi. 4. 

Ragged-robin, said to be the " cuckoo-flowers," King Lear, iv. 4. 

Raging-wood (raging-mad), I. Henry VI., iv. 7. 

Ragozine, a pirate mentioned in Measure for Measure, iv. 3. 

Railing, As You Like It, iv. 3 ; Twelfth Night, i. 5 ; Troilus 
and Cressida, i. 3 ; ii. 1 ; Hamlet, ii. 2 ; King Lear, ii. 2. 

Rain, the, it raineth every day, song, Twelfth Night, v. 1 ; invo- 
cation to, King Lear, Hi. 2. 

Rainbow, the, The Tempest, iv. 1; secondary, called water- 
galls, Lucrece, I. 1588. See Iris. 

Rally, a, in battle, Cymbeline, v. 3. 

Rambures, a French lord in Henry V., first appears in Hi. 7 ; 
his death at Agincourt, iv. 8. 

Ramston, Sir John (correctly Thomas), mentioned in Richard 
II, ii. 1, as one of the adherents of Bolingbroke. He was warden 
of the Tower when Richard was imprisoned there. 

Rancour, will out, II. Henry VI, i. 1. 

Rank, pride and distinctions of, All's Well that Ends Well, ii. 
3 ; differences and indications of, A Winter's Tale, iv. 3 or 4 ; dis- 
grace to, I. Henry IV., Hi. 2 ; proper observance of, Troilus and 
Cressida, i. 3 ; one's own doing, Julius Ccesar, i. 2 ; disadvantage 
of, Cymbeline, ii. 1. 

Rank (jog), As You Like It, Hi. 2. 
26 



296 INDEX TO SHAKSPERE'S WORKS. 

Ransom, for life, Comedy of Errors, i. 1 ; demand for a, Henry 
V, iv. 3 ; v. 3, 5, 6; the sepulchre of the world's, Richard II., ii. 1. 

Rape of Lucrece, the. See Lucrece. 

Baps (enwraps), Cymbeline, i. 6. 

Rapture (fit), Coriolanus, ii. 1. 

Rareness. See Popularity. 

Rarity, gives value, Sonnet Hi. 

Rascal (a lean deer), I. Henry VI., iv. 2, and elsewhere. 

Rash, Master, a prisoner, Measure for Measure, iv. 3. 

Rat(s), Hamlet, Hi. 4 ,' leave a doomed ship, The Tempest, i. 2 ; 
an Irish, As You Like It, Hi. 2. Referring to the saying that rats 
were rhymed to death in Ireland. See Transmigration. 

RatclifF, Sir Richard, character in Richard III, first appears 
in ii. 2, an adherent and confidant of Richard. See Catesby. 

Raught (reached), Love's Labour's Lost, iv. 2 ; Antony and Cle- 
opatra, iv. 9. 

Raven(s), feathers of, used in witchcraft, The Tempest, i. 2 ; 
young, must be fed, Merry Wives of Windsor, i. 3 ; chides black- 
ness, Troilus and Cressida, ii. 3 ; allusion to the notion that they 
desert their young on account of their ugliness, Titus Andronicus, 
ii. 3 ; foresee death, Julius Cmsar, v. 1 ; ominous, Macbeth, i. 5 ; 
Titus Andronicus, ii. 3 ; Hamlet, Hi. 2 ; o'er the infected house, 
Othello, iv. 1. The ill-omened bird was thought to hang over houses 
where the plague was. This is also referred to in Much Ado about 
Nothing, ii. 3. 

Ravenspurg, or Ravenspur, Richard II.. ii. 1, end; ii. 2, 3 ; 
I. Henry IV., i. 3. It was a port at the mouth of the Humber, 
gradually destroyed by the encroachments of the sea, until, by the 
middle of the sixteenth century, it had entirely disappeared. 

Ravings, of madness, King Lear, iii. 4,' iv. 6. 

Razed (a word applied to the damage done by a boar), Richard 
III, iii. 2. 

Razes (roots), I. Henry IV, ii. 1. 

Readiness, Henry V, iv. 3, " All things are ready, if our minds 
be so." 

Reading, how well he's read, to reason against, Love's Labour's 
Lost, i. 1. 

Reapers, dance with nymphs. The Tempest, iv. 1. 

Rearmice. See Reremice. 

Reason, nobler, The Tempest, v. 1 ; and rhyme, Two Gentlemen 
of Verona, ii. 1 ; Love's physician, Merry Wives of Windsor, ii. 1 ; 



INDEX TO SHAKSPERE'S WORKS. 297 

Sonnet cxlvii.; "dares her no," or "dares her on," Measure for 
Measure, iv. 4. The first reading would mean, bids her not to de- 
nounce me. The second would mean, my reason dares her to go on 
and do it, since she will not be believed. In madness. Measure for 
Measure, v. 1 ; keeps little company with love, Midsummer- -Night's 
Dream, Hi. 1 ; a grand-juryman. Twelfth Night, Hi. 1 ; and respect, 
not for manhood and honour, Troilus and Cressida, ii. 2 ; the re- 
ceipt of, Macbeth, i. 7 ; dethroned, Hamlet, Hi. 1 ; what we are 
without, Hamlet, iv. 4 ; sent after the thing it loves, Hamlet, iv. 5, 
" Nature is fine in love," etc. ; in madness, King Lear, iv. 6 ; office 
of, Othello, i. 3. 

Reasons, a woman's, Two Gentlemen of Verona, i. 2 ; if, as 
plenty as blackberries, 1. Henry IV., ii. 4,' good, must give place to 
better, Julius Cozsar, iv. 3 ; strong, make strong actions, King John, 
in. 4 ; larded with, Hamlet, v. 4 ; like two grains of wheat in two 
bushels of chaff, Merchant of Venice, i. 1. 

Rebeck, name of a musician in Romeo and Juliet, iv. 4. 

Rebel(s), evils invoked on, Richard II., Hi. 2 ; suspicion of par- 
doned, II. Henry IV., iv. 1; called on to repent, I. Henry VI., Hi. 
3 ; worthy to be a, Macbeth, i. 2. 

Rebellion, untread the way of, King John, v. 4', of Boling- 
broke, Richard II, ii. 1-3 ; Hi. 3 ; difficulty of managing, I. Henry 
IV., iv. 1, Worcester's speech ; offer of pardon for, I. Henry IV., iv. 
3 ; v. 1 ; colour to face the garment of, I. Henry IV., v. 1 ; never 
forgiven, I. Henry IV., v. 2 ; ever rebuked, I. Henry IV., v. 5 ; ill- 
luck of — effect of the word on troops — turned to religion, 77. Henry 
IV., i. 1; reasons for, 77. Henry IV., iv. 1; Jack Cade's. II. Henry 
VI, iv. 2-6 ; of workingmen, Henry VIII, i. 2 ; of the plebeians, 
Coriolanus, i. 1 ; general, Coriolanus, iv. 6. 

Rebukes, improved, Measure for Measure, iv. 6 ; Much A do 
about Nothing, ii. 3 ; sensitiveness to, Cymbeline, Hi. 5, "Forbear 
sharp speeches," etc. 

Recheat, Much Ado about Nothing, i. 1. A hunting term, 
meaning a call sounded on the horn to bring back the dogs from a 
wrong scent. 

Recklessness, caused by the world's treatment, Macbeth, Hi. 1. 

Reckoning, fit for a tapster, Love's Labour's Lost, i. 2 ; a pity 
to get a living by, Love's Labour's Lost, v. 2. 

Reconciliation, of enemies, Richard 77., i. 1 ; Richard III, 
ii. 1 ; of kings, A Winter's Tale, v. 2. 

Recreation, melancholy from want of, Comedy of Errors, v. 1. 



293 INDEX TO SHAKSPERE'S WORKS. 

Recruits, Falstaffs, II. Henry IV., Hi. 2. 

Recure (recover), Richard III, Hi. 7. 

Rede (teaching or counsel), recks not his own, Hamlet, i. 3. 

Redemption, by Christ, Measure for Measure, ii. 2. 

Redime te captum, etc., Taming of the Shrew, i. 1. Redeem 
thyself, captive, for as little as thou canst ; quoted from Terence as 
in Lilly's <; Latin Grammar." 

Red-lattice phrases, Merry Wives of Windsor, ii. 2. Ale- 
houses had red lattices. 

Reeds, eaves of, The Tempest, v. 1. Reeds were used for thatch. 

Refelled (refuted), Measure for Measure, v. 1. 

Refinement, affected, Twelfth Night, ii. 5 ; Hamlet, v. 1. 

Reflection, Henry V., iv. 1, " I and my bosom must debate 
awhile." 

Reform, in character, patching, Twelfth Night, i. 5 ; unexpected, 
I. Henry IV., i. 2, end; Henry V., i. 1; in the state, II. Henry VI., 
ii. 2. 

Regan, one of the daughters of King Lear, introduced in the 
first scene. Her professions of filial love, *. 1; treatment of her 
father, ii. If. ; she becomes a widow, iv. 2 ; betroths herself to Ed- 
mund, iv. 5 ; v. 1 ; is poisoned by her sister, v. 3. See Goneril. 

Regicide, A Winter's Tale, i. 2 ; Richard II., v. 6 ; Macbeth, 
i. 7. 

Regiment (authority), Antony and Cleopatra. Hi. 6. 

Regreets (greetings), Merchant of Venice, ii. 9; King John, 
Hi. 1. 

Regret, uselessness of, Macbeth, Hi. 2, " Things without reme- 
dy," etc. ; Othello, i. 3, " When remedies are past," etc. ; for the 
dead, Antony and Cleopatra, i. 2. 

Reguerdon (reward), I. Henry VI., Hi. 1. 

Reignier (Rene), Duke of Lorraine and Anjou, and titular King 
of Naples, Sicily, and Jerusalem, father of Margaret, queen to Henry 
VI., character in I. Henry VI., first appears in i. 1. Suffolk speaks 
of his titles and influence in v. 5 ; York taunts his daughter with his 
high-sounding titles and poverty in the third part, i. 4, and Richard 
in ii. 2. At the close of the third part he is said to have pawned 
Sicily and Jerusalem to ransom his daughter. 

Relationship, Macbeth, ii. 3, " The near in blood," etc. ; Ham- 
let, i. 2, " A little more than kin and less than kind." See Blood, 
Kinship. 

Religion, every error in, approved, Merchant of Venice, Hi. 2 ; 



INDEX TO SHAKSPERE'S WORKS. 299 

fickleness in, Much Ado about Nothing, i. 1 ; pretense of, Richard 
111., Hi. 7. See Hypocrisy, Quotation. 

Remediate (remedial), King Lear, iv. 4. 

Remedies, lie in ourselves, All's Well that Ends Well, i. 1; 
heroic, for the state, Coriolanus, Hi. 1 ; things without remedy 
should be without regard, Macbeth, Hi 2. 

Remember (remind), The Tempest, i. 2. 

Remembrance, burdened with heaviness that's gone, The Tem- 
pest, v. 1; of a widow, II. Henry IV., ii. 3; of the valiant dead, 
Henry V, i. 2 ; sworn, Hamlet, i. 5 ; of things precious, Macbeth, 
iv. 3 ; summoned, Sonnet xxx. 

Remonstrance, King Lear, i. 1 ; A Winter's Tale, ii. 2. 

Remorse, Much Ado about Nothing, iv. 1; King John, iv. 2 ; 
Richard II., v. 5, end ; Richard III, ii. 1; v. 3 ; Macbeth, Hi. 2, 
4 ; v. 1 ; Hamlet, i. 5 ; King Lear, i. 4, " most small fault," etc. ; 
Othello, iv. 6, 9 ; Antony and Cleopatra, iv. 6, 9 ; Cymbeline, v. 1 ; 
Lucrece, lines 708, 730 ; A Winter's Tale, Hi. 2. 

Remorse (pity), Measure for Measure, v. 1 ; II. Henry VI, iv. 1 ; 
Merchant of Venice iv. 1, and elsewhere. 

Remotion (remoteness), Timon of Athens, iv. 3 ; King Lear, ii. 4. 

Remuneration, the Latin for three farthings, Love's Labour's 
Lost, Hi. 1. 

Render (describe), As You Like It, iv. 3. 

Rene, King. See Reignier. 

Reneag, or renege (deny, renounce), King Lear, ii. 2 ; Antony 
and Cleopatra, i. 1. A word akin to renegade. 

Renown. See Fame, Glory. 

Renunciation, easy, Lover's Complaint, I. 239. 

Repentance, he who is not satisfied by, Two Gentlemen of Ve- 
rona, v. 4 ; toward heaven, Measure for Measure, ii. 3 ; of Oliver, 
As You Like It, iv. 3 ; of a usurper, As You Like It, v. 4 ; for- 
bidden, A Winter's Tale, Hi. 2, " But thou tyrant," etc. ; of a 
tyrant, A Winters Tale, Hi. 2, end ; v. 1 ; proposed, I. Henry IV., 
i. 2 ; Hi. 3 ; v. 2, 5 ; leisure for, Richard III, iv. 4 ; without resti- 
tution, Hamlet, Hi. 3 ; before death, Cymbeline, v. 4, " My con- 
science," etc. ; of Enobarbus, Antony and Cleopatra, iv. 9 ; to patch 
up this old body for heaven, II. Henry IV., ii. 4 ; if my wind were 
but long enough to say my prayers, I would repent, Merry Wives of 
Windsor, iv. 5. 

Reply churlish, the. See Duelling. 

Reports, false, //. Henry 1 V., induction, i. 1. 



300 INDEX TO SHAKSPERE'S WORKS. 

Repose, times for, Henry VIII., v. 1 ; foster-nurse of Nature, 
King Lear, iv. 4 ; from travel, Sonnet xxvii. 

Representative, character of a, Troilus and Cressida, i. 3. 

Reprisals, III. Henry VI, ii. 2, " To whom do lions,'' etc. 

Reproof (rebuttal), 1. Henry IV., i. 2 ; valiant, the, see Duel- 
ling; Hamlet's, of his mother, Hamlet, Hi. 4; for fickleness, King 
John, Hi. 1 ; ill-timed, The Tempest, ii. 1. 

Repugn (resist), /. Henry VI, iv. 1. 

Reputation, the bubble, As You Like It, ii. 7 ; value of, Rich- 
ard II, i. 1; Othello, Hi. 1, 3 ; the immortal part, Othello, ii. 3 ; mis- 
taken, Sonnet cxxi. See also Name. 

Rere-mice (bats), Midsummer-Night's Dream, ii. 2. The first 
part of the compound is from the Anglo-Saxon hreran, to stir, to 
flutter. The word is, therefore, equivalent to flitter-mouse. 

Reserve, effects of, I. Henry IV., Hi. 2. 

Resignation, to the will of Heaven, Richard II, v. 2 ; to appar- 
ent evils, Henry V., iv. 1, " There is some soul of goodness," etc. ; to 
the inevitable, Antony and Cleopatra, Hi. 6 ; to death, Merchant of 
Venice, iv. 1. 

Resolution, in spite of one repulse, The Tempest, Hi. 3 ; sud- 
den, Two Gentlemen of Verona, i. 3; should not be quenched with 
hope, Measure for Measure, Hi. 1 ; dauntless spirit of, King John, 
v. 1 ; the native hue of, sicklied o'er with the pale cast of thought, 
Hamlet. Hi. 1 ; placed, Antony and Cleopatra, v. 2. See Determina- 
tion, Will. 

Resolved (assured), I. Henry VI, Hi. 4. 

Respect, too much, upon the world, Merchant of Venice, i. 1. 

Respect (circumspection), takes away valour, Troilus and Cres- 
sida, ii. 2. 

Rest, to set up one's, Comedy of Errors, iv. 3 ; AIVs Well that 
Ends Well, ii. 1, and elsewhere. To resolve upon, to lay a wager 
upon. 

Restraint, result of excess, Measure for Measure, i. 3. 

Results, great, from insignificant causes, AIVs Well that Ends 
Well, ii. 1. 

Resurrection, the, allusion to, Much Ado about Nothing, v. 3, 
song, " Till death be uttered." 

Retire (a retreat), I. Henry IV., ii. 3. 

Retirement, from towns, Two Gentlemen of Verona, v. 4 ; from 
court life, As You Like It, ii. 1; Hi. 2 ; in old age, I. Henry IV., v. 
1 ; King Lear, i. 1. 



INDEX TO SHAKSPERE'S WORKS. 301 

Retort (reject), Measure for Measure, v. 1. 

Retort courteous, the. See Duelling. 

Retreat, of Hotspur's soldiers, II. Henry I V., i. 1 ; a, Corio- 
lanus, i. 4- 

Retribution, certainty of, on earth, Macbeth, i. 7 ; Richard 
III., ii. 1; iv. 4; v. 4; Timon of Athens, v. 5. 

Retrospection, Sonnet xxx. 

Revel(s), a, Hamlet, i. 4 ; Timon of Athens, ii. 2. 

Revenge, schemes of, Merry Wives of Windsor, i. 3 ; ii. 1; 
spirit of, overcome by kindness, As You Like It, iv. 3 ; of the Per- 
cys, I Henry IV., i. 3; Clifford's, III. Henry VI, i. 3, 4; ii. 3 ; 
Warwick's, III. Henry VI, ii. 3 ; on one that loves, Richard III, 
i. 2 ; deaf to reason, Troilus and Cressida, ii. 2; Tamora in the 
guise of, Titus Andronicus, v. 1 ; against country, Coriolanus, iv. 5 ; 
Caesar's spirit, ranging for, Julius Cazsar, Hi. 1 ; threats of, King 
Lear, ii. 4, last part; taken during prayer, incomplete, Hamlet, Hi. 
3 ; should have no bounds, Hamlet, iv. 7 ; vows of, Hamlet, iv. 5 ; 
Macbeth, iv. 3 ; Othello, Hi. 3, end ; v. 2 ; suggestion of, Cymbeline, 
i. 6 ; the humility of Christians, Merchant of Venice, Hi. 1. 

Revenges, of Time, Twelfth Night, v. 1. 

Revenue, farming the, Richard II, i. 4. 

Re verbs (reverberates), King Lear, i. 1. 

Reverence, angel of the world, Cymbeline, iv. 2. 

Reverses. See Adversity, Fortune, Misfortune. 

Revolt (desert), II Henry VI, iv. 2. 

Revolts, against Duncan, Macbeth, ii. 2 ; minutely, Macbeth, 
v. 1 ; of the plebs, see Plebeians. See also Rebellion. 

Revolution, spirit of, Antony and Cleopatra, i. 3 ; how it must 
be dealt with, King John, v. 2. 

Reward, too slow for merit, Macbeth, i. 4. 

Reynaldo, servant of Polonius, appears in ii. 1 of Hamlet. 

Rhesus, III. Henry VI, iv. 2. Ulysses and Diomedes broke 
into his tent and stole his white steeds, because of a prophecy that 
Troy could never be taken if once they drank from the Xanthus. 

Rhetoric, sweet smoke of, Love's Labour's Lost, Hi. 1. 

Rhinoceros, the armed, Macbeth, Hi. 4. 

Rhodope, /. Henry VI, i. 5 or 6. A celebrated courtesan, 
erroneously said to have built the smallest and finest of the pyra- 
mids at Memphis. 

Rhyme, and reason, Two Gentlemen of Verona, ii. 1; Love's 
Labour's Lost, i. 1 ; neither, nor reason, Comedy of Errors, ii. 2 ; 



302 INDEX TO SHAKSPERE'S WORKS. 

one, like a butter-woman's jog (rank) to market, As You Like It, Hi. 
2; love in, Sonnets xxxii., xxxviii. 

Rhymes, a lover's, Midsummer-Night's Dream, i. 1 ; As You 
Like It, Hi. 2; iv. 3. 

Rhyming, taught by love, Love's Labour's Lost, iv. 3. 

Rhyming planet, born under a, Much Ado about Nothing, 
v.2. 

Rhys-ap-Thomas. See Rice-ap-Thomas. 

Rialto, the, Merchant of Venice, i. 3 ; Hi. 1. The Ponte di Ri- 
alto, or bridge of the Rialto, over the Grand Canal at Venice, was 
used as an exchange. 

Ribaudred,. or ribaldred (ribald), Antony and Cleopatra, Hi. 8 
or 10. 

Rice-ap-Thomas (or Rhys), Richard III., iv. 5. He brought 
re-enforcements for Richmond to Bosworth Field. 

Rich, and poor, the, fable concerning, Coriolanus, i. 1. 

Richard, Kings II. and III., dramas of. See King Richard II. 
and King Richard III. 

Richard, Duke of York, son of Edward IV., character in Rich- 
ard III., first appears in ii. 4. See Edward V. and Princes in the 
Tower. 

Richard I. {Cozur de Lion), King of England from 1189 to 1199, 
King John, i. 1 ; ii. 1. 

Richard II., eighth king of the house of Plantagenet, born 
1366, died 1400. He was the son of Edward the Black Prince, and 
succeeded his grandfather, Edward III., in 1377, at the age of eleven. 
He is introduced in the first scene of the play that bears his name, 
where two nobles bring their quarrel before him, and where is pre- 
sented "the germ of all the after-events in his insincerity, partiality, 
arbitrariness, and favouritism, and in the proud, tempestuous tem- 
perament of his barons." In iv. 1, he resigns the crown and is sent 
to the Tower; in v. 2, he is killed by Exton. In person Richard is 
represented as very handsome, having a fair, delicate, and feminine 
style of beauty ; in character he was weak, with an overweening con- 
fidence in his divine right and the respect of his subjects for it. He 
is given to indirect methods and dissimulation, is easily depressed 
and easily excited with hope and confidence. At the same time the 
reader's sympathy is aroused by his amiability and by his misfor- 
tunes. But in his weakness he had spent his revenues foolishly, and 
consequently had resorted to extortionate taxes, and even confisca- 
tion. Allusions to him in other plays: his unkingly conduct, /. 



INDEX TO SHAKSPERE'S WORKS. 303 

Henry IV., Hi. 2 ; prophecy by him, II. Henry IV., Hi. 1 ; peni- 
tence for his dethronement and murder, Henry V., iv. 1. 

Richard III. (1450-1485), character in the second and third 
parts of Henry VI, under the names of Richard Plantagenet and 
Duke of Gloucester. In II. Henry VI. he is introduced in v. 1, and 
in III. Henry VI. in i. 1. His courage, i. 4 / his purpose to gain 
the crown, Hi. 2 ; iv. 1 ; his deformity, Hi. 2. In v. 5 he stabs the 
prince, and offers to kill Margaret ; and in v. 6 stabs King Henry. 
The play that bears his name begins with a soliloquy, in which he 
declares his designs; his name presented to the citizens and the 
crown offered to him, Hi. 7. He enters crowned in iv. 2, and orders 
the murder of the princes ; is reproached by their mother and de- 
nounced by his, iv.4; his courage at BosWorth, v. 4> his death, v. 5. 

" There is something sublime and terrible in so great and fierce 
a human energy as that of Richard concentrated within one with- 
ered and distorted body. This is the evil offspring and flower of the 
long and cruel civil wars — this distorted creature, a hater and scorner 
of man, an absolute cynic, loveless and alone, disregarding all human 
bonds and human affections, yet full of intellect, of fire, of power." 
— Dowdex. 

Riches. See Gold, Money, Wealth. 

Richmond, Margaret, Countess of, Richard III, i. 3. She was 
the mother of Henry VII. Stanley was her third husband. 

Richmond, Henry Tudor, Earl of (1456-1509), afterward Henry 
VII., character in 777. Henry VI, introduced in iv. 6, where the 
king, whose half-brother he was, utters a prophecy concerning him, 
and in the same scene it is resolved to send him to Brittany. He 
appears again in Richard III, as the head of the Lancastrian party. 
In iv. 3 he is called a Breton, from his residence in Brittany. He is 
spoken of in iv. 4 as being in Wales, first appears in v. 2, and is 
made king in v. 5. He is represented in the play as pious and con- 
scientious. By his marriage with the daughter of Edward IV., he 
united the claims of the houses of York and Lancaster. 

Riddance, from a knave, Much Ado about Nothing, Hi. 3. 

Riddles, Dull's, Love's Labour's Lost, iv. 2 ; one proposed to 
suitors, Pericles, i., prologue ; book of, Merry Wives of Windsor, i. 1. 

Ridicule, one must seem senseless of, As You Like It, ii. 7 ; in- 
difference to, Much Ado about Nothing, ii. 3 ; of the Greek gener- 
als, Troilus and Cressida, i. 3. 

Right, to do a great, do a little wrong, Merchant of Venice, iv. 
1; o'ercoming might, II. Henry IV., v. 4>' warring with right, 
Troilus and Cressida, Hi. 2. 



30± INDEX TO SHAKSPERE'S WORKS. 

Rigol (circle), II. Henry IV., iv. 4; Lucrece, I. 1745. 

Rim (entrails), Henry V., iv. 4- 

Rinaldo, steward to the Countess of Rousillon in All's Well that 
Ends Well, introduced in *'. 3. 

Ring(s), exchange of, Two Gentlemen of Verona, ii. 2 ; refused, 
Two Gentlemen of Verona, iv. 4 / ShyJock's turquoise, Merchant of 
Venice, Hi. 1 ; Portia's, Merchant of Venice, Hi. 2 ; iv. 1, 2 ; v. 1 ; 
with death's-heads in, Love's Labour's Lost, v. 2 ; proverbial phrases 
on, Merchant of Venice, v. 1 ; As You Like It, Hi. 2 ; Hamlet, Hi. 
2, " The posy of a ring ; " an old, All's Well that Ends Well, Hi. 2, 
7 ; iv. 2 ; v. 3; exchange of, at marriage, Twelfth Night, v. 1; 
thumb, I. Henry IV., ii. 4> engagement, Richard III., i. 2 ; the 
king's, an emblem of his authority, Henry VIII., v. 1, 3 ; one shin- 
ing by its own light, Titus Andronicus, ii. Sox 4; of Posthumus, 
Cymbeline, i. 1; ii. 4; v. 5. 

Ringlets, the green, sour, The Tempest, v. 1. A fungous growth 
that was supposed to be made by dancing fairies. 

Ring-wood, Merry Wives of Windsor, ii. 1. A common name 
for a dog. 

Riot, a, Merry Wives of Windsor, i. 1. 

Risk, of everything on one cast, I. Henry IV., iv. 1. 

Rivage (bank, shore), Henry V., Hi., chorus. 

Rivality (equality), Antony and Cleopatra, Hi. 5. 

Rivalry, necessary, of Antony and Caesar, Antony and Cleopatra t 
v. 1. 

Rivals, in love, quarrels of, Two Gentlemen of Verona, ii. 4. 

Rivals (associates), Hamlet, i. 1. 

Rive (to fire), I. Henry VI., iv. 2. 

Rivers, flowery banks of, The Tempest, iv. 1; drown their 
shores, Richard II, Hi. 2. 

Rivers, Anthony Woodville, Earl, character in III. Henry VI, 
introduced in iv. 4, and in Richard III, introduced in i. 3. He 
was a son of the Woodville, lieutenant of the Tower, in I. Henry 
VI, and brother of Elizabeth, Lady Grey, who became the wife of 
Edward IV. His marriage with a rich heiress, daughter of Lord 
Scales, is spoken of in iv. 1 of the former play, where Gloucester 
upbraids Edward IV. with having given her to his wife's brother 
rather than to one of his own. He was seized by Richard's orders 
and beheaded at Pontefract (1483), Richard III, Hi. 3; his ghost 
appears to Richard, v. 3. Lord Rivers translated from the French 
the second book printed in England by Caxton, " Dictes and Saye- 



INDEX TO SHAKSPERE'S WORKS. 305 

ings of the Philosophers." He made other translations, and also 
" Divers Balades ayenst the Seven Dedely Synnes." 

Rivo, I Henry IV., ii. 4. A Bacchanalian exclamation, mean- 
ing unknown. 

Roan. See Rouen. 

Roaring, an extempore part, Midsummer-Night's Dream, i. 2; 
of lions, The Tempest, ii. 1. 

Roast, rules the, II. Henry VI, i. 1. 

Robbery, if unknown to the robbed, Othello, Hi. 3 ; of reputa- 
tion, Othello, Hi. 3 ; in behalf of charity, Troilus and Cressida, v. 3. 

Robin, Falstaff's page, Merry Wives of Windsor, i. 3. 

Robin Goodfellow. See Puck. 

Robin Hood. See Hood. 

Robin Redbreast (ruddock), allusion to the notion that he cov- 
ers the dead, Cymbeline, iv. 2. 

Rochester, scene of a part of I. Henry IV. It is twenty-eight 
miles southeast of London. 

Rod, the, more mocked than feared, Measure for Measure, i. 4. 

Roderigo, a Venetian gentleman, character in Othello, intro- 
duced in i. 1. He is in love with Desdemona, and is made a dupe 
by Iago. His encounter with Cassio, v. 1. 

"Without any fixed principle, but not without the moral no- 
tions and sympathies with honour which his rank and connections 
had hung upon him, is already well fitted and predisposed for the 
purpose ; for every want of character and strength of passion, like 
wind loudest in an empty house, constitute his character." — Cole- 
ridge. 

Rogero, a gentleman at the palace, A Winter's Tale, v. 2. 

Rolands, /. Henry VI, i. 2. Roland was one of Charlemagne's 
twelve peers. 

Romage (rummage, overturning), Hamlet, i. 1. 

Roman(s), degenerate, Julius Cmsar, i. 3 ; promises of, Julius 
Co&sar, ii. 1 ; such a, Julius Casar, iv. 3 ; the noblest, Julius Cmsar, 
v. 5 ; the injurious, Cymbeline, Hi. 1. 

Roman fool, play the (Cato of Utica?), Maebeth, v. 5. 

Romano, Giulio, a painter of the sixteenth century, spoken of 
as a sculptor in A Winter's Tale, v. 2. 

Roman thought, a, hath struck him, Antony and Cleopatra, 
i. 2. 

Rome, scene of parts of Titus Andronicus, Antony and Cleo- 
patra, Coriolanus, Julius Cozsar, and Cymbeline ; her knowledge of 



306 INDEX TO SEAKSPERE'S WORKS. 

her neighbours, Coriolanus, i. 2 ; attacked, Coriolanus, iv. 6 ; dis- 
sensions in, i. 1 ; Hi. 1-3 ; iv. 2, 3 ; gratitude of, Coriolanus, Hi. 1, 
"Now the good gods," etc.; ingratitude of — a wilderness of tigers. 
Titus Andronicus, Hi. 1; degenerate, Julius Ccesar, i. 2; loved 
more, Julius Ccesar, Hi. 2. 

Home (papal), curse of, King John, Hi. 1 ; dictation of, King 
John, v. 2 ; tricks of, Henry VIII., ii. h end. 

Borneo, hero of Romeo and Juliet, first appears in i. 1. He is in 
love with Rosaline, Capulet's niece; goes to Capulet's feast, *. 5 ; in 
Capulet's garden, ii. 2; marries Juliet, ii. 6; slays Tybalt, and is 
banished, Hi. 1 ; in Mantua, v. 1 ; slays Paris and dies, v. 3. See 
Rosaline. 

"The wise Friar Laurence perceived that 'affliction was en- 
amoured' of the susceptible qualities of this deeply agitated and 
violent nature, and that he was ' wedded to calamity.' -. . . Reserved, 
disdainful of advice, melancholy, laconic, vague and subtle in his 
scanty words, he shuns the light, he is an interpreter of dreams, his 
disposition is foreboding, and his nature pregnant with fate." — 
Gervinus. 

. Eomeo and Juliet was first published in 1597, but the version 
then printed is supposed to have been rewritten from an earlier one, 
dating as far back as 1591. The story is very old. Some of the 
chief incidents appeared in a Greek romance by Xenophon of Ephe- 
sus. It was first told in Italian by Luigi da Porto, of Vincenza, who 
died in 1529. His novel was published six years after his death. It 
was told again by Bandello, in 1554, and from him translated into 
French by Boisteau. William Paynter translated the French ver- 
sion into English for his " Palace of Pleasure," 1567. But the story 
had previously appeared in English verse by Arthur Brooke, 1562. 
Shakspere no doubt used both Paynter and Brooke in his play, but 
it bears a closer resemblance to Brooke's poem, which has consider- 
able merit, than to the other. But Brooke speaks in his preface of 
having seen the story on the stage not long before ; so that there 
was an English or perhaps Latin play to which Shakspere and he 
may both have been indebted. The time is early in the fourteenth 
century ; at least the occurrence on which it is founded is referred 
to the year 1303, and the events of the play occupy but a few days. 

" The enmity of the two families is the hinge on which everything 
turns ; very appropriately, therefore, the representation begins with 
it. The spectator must have seen its outbreaks himself in order to 
know what an insuperable obstacle it is to the union of the lovers. 
The animosity of the masters has rather rude representatives ; we 



INDEX TO SHAKSPERE'S WORKS. 307 

see how far the matter must have gone when those foolish fellows 
cannot meet without forthwith falling into a quarrel. . . . The rec- 
onciliation of the heads of the families over the dead bodies of their 
children, the only drop of balm left for the torn heart, is not possi- 
ble except through their being informed as to the course of events. 
The unhappiness of the lovers is thus not wholly in vain ; sprung 
out of the hatred with which the piece begins, it turns, in the cycle 
of events, back toward its source, and stops it up forever." — Schlegel. 

Ronyon (Fr. rognon, a mangy person), Macbeth, i. 3. Rump- 
fed ; the rumps were given to the cooks. 

Rook, the, ominous, Macbeth, Hi. 4. 

Rooked (lodged), III. Henry VI, v. 6. 

Room, description of a, Cymbeline, ii. 4. 

Rope-ladder, Two Gentlemen of Verona, ii. 4. ; Hi. 1. 

Rope-tricks, Taming of the Shrew, i. 2. Conjectured to be a 
blunder for rhetoric. 

Rosalind, the heroine of As You Like It, first appears in the 
second scene. 

" She is fresh as the morning, sweet as the dew-awakened blos- 
soms, and light as the breeze that plays among them. She is as 
witty, as voluble, as sprightly as Beatrice, but in a style altogether 
distinct. In both the wit is equally unconscious ; but in Beatrice it 
plays about us like the lightning, dazzling, but also alarming ; while 
the wit of Rosalind bubbles up and sparkles like the living fountain, 
refreshing all around. Her volubility is like the bird's song ; it is 
the outpouring of a heart filled to overflowing with life, love, and 
joy, and all sweet and affectionate impulses." — Mrs. Jameson. 

Rosaline, the wittiest of the ladies attending on the princess in 
Love's Labour's Lost, beloved by Berowne or Biron, first appears in 
ii. 1. She is, perhaps, an earlier sketch of Beatrice. 

Rosaline, the first fancy of Romeo, spoken of by him and his 
friends in the earlier part of the play. 

" This "[Romeo's love to Rosalind] " has been to many a stumbling- 
block, and Grarrick rejected it in the alteration of the play. To me it 
appears indispensable ; it is like the overture to the musical sequence 
of moments which all unfold themselves out of that first when Romeo 
beholds Juliet. Lyrically taken, though not in respect of the action 
(and its whole charm surely rests on the tender enthusiasm which it 
breathes), the piece would be imperfect if it did not contain within itself 
the rise of his passion. But ought we to see him at first in a state of 
indifference ? How is his first appearance exalted through this, that, 
already removed from the circumstances of cold reality, he walks out 
the consecrated ground of fancy ! The tender solicitude of his par- 
ents, his restless pinings, his determined melancholy, his fanatical 
inclination for loneliness, everything in him announces the chosen 
one and the victim of ]pve. His youth is like a thunderous day in 
27 



308 INDEX TO SHAKSPERE'S WORKS. 

spring, when sultry air surrounds the loveliest, most voluptuous 
flowers. Shall his quick change of mind deprive him of sympathy f 
or do we not argue from the instantaneous vanquishment of his first 
inclination, which in the beginning appeared so strong, the omnipo- 
tence of the new impression I " — Schlegel. 

Roscius, III Henry VI, v. 6; Hamlet, ii. 2. A Roman comic 
actor, died 62 b. c. 

Rose(s), a, in the ear, King John, i. 1. Allusion to the fashion 
of wearing a flower or a knot of ribbon in the ear or the hair near 
it; by any other name, Romeo and Juliet, ii. 2 ; against the blown, 
Antony and Cleopatra, Hi. 11 or 13 ; odours of, Sonnet liv. ; red and 
white, Sonnet xcix. ; at Christmas, Love's Labour's Lost, i. 1 ; of the 
fair state, Hamlet, Hi. 1. 

Rosemary, A Winter's Tale, iv. 3 or 4 >' Romeo and Juliet, ii. 
4 ; iv. 5 ; Hamlet, iv. 5 ; Pericles, iv. 6. It was thought to strengthen 
the memory, and was therefore a token of remembrance ; was used 
at weddings and funerals, and to garnish dishes at feasts. 

Rosencrantz, a courtier in Hamlet, introduced in ii. 2. He 
and Guildenstern were schoolfellows of Hamlet, Hi. 4- He calls 
them " adders fanged," and tells Rosencrantz in iv. 2 that he is a 
sponge, soaking up the king's favour, rewards, and authorities. 
They carry the orders concerning Hamlet to England, v. 2, and are 
themselves sacrificed. It is not expressly told whether the two 
courtiers knew the nature of the order they carried ; but Hamlet's 
answer to Horatio, v. 2, " They did make love to this employment," 
implies that they did, or that he thinks they did. 

" Though directly they " [Rosencrantz and Guildenstern] " take 
no part in the action, they are nevertheless willing, for the sake of 
their personal aggrandizement and influence, to become the guilty 
instruments of another criminal's design. This subserviency, how- 
ever, is but another and baser form of thinking and acting only for 
self, and it is therefore appropriately punished, not by the might of 
a foreign and hostile volition, but by the capricious sport of trifling 
contingencies." — Ulrici. 

Roses, the, of York and Lancaster, i". Henry VI, ii. 4; iv. 1 ; 
II Henry VI, i. 1 ; losses in wars of, 111. Henry VI, v. 7 ; battles 
of the Wars of, see Battles. 

Ross, Lord William, a character in Richard II, introduced in 
ii. 3, a partisan of Bolingbroke, who made him lord treasurer after 
his accession. 

Ross, a thane of Scotland, character in Macbeth, introduced in 
i. 3. The title properly belonged to Macbeth, to whom it came by 



INDEX TO SHAKSPERE'S WORKS. 309 

the death of his father, as that of Thane of Glamis is said in the play 
to have done. 

Roted (learned by rote), Coriolanus, Hi. 2. 

Bother (a horned beast), Timon of Athens, iv. 3. 

Rotherham, Thomas, Archbishop of York, character in Rich- 
ard III., first appears in ii. 4. He was kept in prison for a time by 
Richard. 

Rottenness, in Denmark, Hamlet, i. 4. 

Rouen (then pronounced and sometimes spelled Roan), scene of 
a part of Henry V. ; taken by the French and lost again, i". Henry 
VI, in. 2. It is in Normandy, sixty-seven miles northwest of Paris. 

Rougemont, Castle. See Exeter. 

Roundel (a dance), Midsummer-Night's Dream, ii. 3. 

Rounder (circle), King John, ii. 1. 

Rounding (telling a secret about in confidence), A Winter's 
Tale, i. 2. 

Rouse, a cup in which to drink a health, Hamlet, i. 4 ; Othello, 
ii. 3. 

Rousillon, an ancient province of southern France, scene of a 
part of All's Well that Ends Well. 

Rousillon, Count of. See Bertram. 

Rousillon, Countess of, a character in AIVs Well that Ends 
Well, appearing first in i. 1, mother of the young count. Just, clear- 
sighted, and affectionate, she does not allow her love for her son to 
blind her to his errors, nor do her pride of rank and dignity of sta- 
tion make her undervalue the merits of the lowlier Helena. 

" But the whole charm and beauty of the play, the quality which 
raises it to the rank of its fellows, by making it lovable as well as 
admirable, we find only in the ' sweet, serene, sky-like' sanctity and 
attraction of adorable old age, made more than ever near and dear 
to us in the incomparable figure of the old Countess of Rousillon." 
— Swinburne. 

Roussi, a French noble, mentioned, Henry V., Hi. 5 ; iv. S. 

Rout, description of a, Cymbeline, v. 3. 

Rowland, a gentleman mentioned in Measure for Measure, iv. 5. 

Rowland, Child, King Lear, Hi. 4. A fragment of an old bal- 
lad, a part only of which has been recovered. 

Rowland de Boys, Sir, father of Oliver and Orlando in As You 
Like It, mentioned in i. 1, and other places in the play. 

Royalty. See Crowns, Kings, Princes. 

Roynish (scurvy), As You hike It, ii. 2 % 



310 INDEX TO SHAKSPERE'S WORKS. 

Rub, there's the, Hamlet, Hi. 1. 

Ruddock (redbreast), the, covers the dead, Cymbeline, iv. 2. 

Rudeness, a sauce to wit, Julius Ccesar, i. 2. 

Rudesby (rude fellow), Twelfth Night, iv. 1 ; Taming of the 
Shrew, Hi, 2. 

Rue, A Winter's Tale, iv. 3 or 4 ; sour herb of grace, Richard 
II, Hi. 4 ; Hamlet, iv. 5. 

Ruff (the turned-over top of the boot), A IV s Well that Ends Well, 
Hi. 2. 

Ruffle (make disturbance), Titus Andronicus, i. 1 or 2. 

Rugby, a servant of Dr. Caius in the Merry Wives of Windsor, 
first appears in i. 4- His worst fault, according to Mrs. Quickly, 
is that he is " given to prayer." 

Rulers, virtues of. Measure for Measure, Hi. 2. 

Rules, of living, AWs Well that Ends Well, i. 1, " Love all," etc. 

Rumour, a pipe, II. Henry IV., induction ; doubles numbers, 
II. Henry IV., Hi. 1 ; in cruel times, Macbeth, iv. 2. 

Rumour, "the presenter" in II. Henry IV., delivers the induc- 
tion, painted full of tongues, a common character in the masque of 
that day. 

Rural sports. See Sports. 

Rush, Tib's, AIVs Well that Ends Well, ii. 2 Rush ring, some- 
times used in rustic betrothals. 

Rushes, lay you down on, I. Henry IV, Hi. 1. It was the cus- 
tom to strew floors with rushes. 

Russia, a night in, Measure for Measure, ii. 1; Emperor of, 
Hermione his daughter, A Winter's Tale, Hi. 2. 

Rust, better to be eaten with, than to be scoured to nothing with 
perpetual motion, II. Henry IV., i. 2. 

Rutland, call him, Richard II. v. 2. The Dukes Aumerle, 
Surrey, and Exeter were deprived of their dukedoms, but allowed to 
retain the earldoms of Rutland, Kent, and Huntingdon. 

Rutland, Edmund Plantagenet, Earl of, third son of the Duke 
of York, a character in III. Henry VI, introduced in i. 3, where he 
is slain in cold blood by Clifford, after the battle of Wakefield. He 
was seventeen years of age. His murder is spoken of in Richard 
III., i. 2, 3, and iv. 4. 

Saba, Henry VIII, v. 4- Queen of Sheba. 
Sabell, Hamlet, Hi. 2. A yellowish colour ; but some editions 
have sables. 



INDEX TO SHAKSPERE'S WORKS. 3H 

Sack, the virtues of, II. Henry IV., iv. 3. The name was ap- 
plied to several kinds of wine. Falstaff's is thought to have been 
sherry. 

Sackerson, Merry Wives of Windsor, i. 1. An educated bear 
exhibited in London in Shakspere's time. 

Sacrament, death without the, Hamlet, i. 5 ; taking the, King 
John, v. 2 ; Richard II, i. 1 ; iv. 1; v. 2 ; All's Well that Ends 
Well, iv. 3. 

Sacrifices, at Delphos, A Winter's Tale, Hi. 1 ; to appease the 
dead, Titus Andronicus, i. 1 or 2 ; spotted livers in the, Troilus and 
Cressida, v. 3. 

Sad (serious), Two Gentlemen of Verona, i. 3 ; A Winter's Tale, 
iv. 3 or 4, and elsewhere. 

Sadness, an unaccountable, Merchant of Venice, i. 1 ; Richard 
II, ii. 2 ; unlimited, Much Ado about Nothing, i. 3. 

Safety, he that steeps his, in true blood, King John, Hi. 4. 

Saffron, All's Well that Ends Well, iv. 5 ; A Winter's Tale, iv. 2. 
Used to colour pastry with ; also a fashionable colour in clothing. 

Sagittary, the, Troilus and Cressida, v.5; a sign in Venice, 
Othello, i. 1. The sagittary was an archer centaur who fought for 
the Trojans. 

Sailors, characters in Twelfth Night, Hamlet, and Othello. 

Sain (said), Love's Labour's Lost, Hi. 1. 

Saint(s), baiting a hook with, Measure for Measure, ii. 2 ; the 
great may jest with, Measure for Measure, ii. 2 ; to vex a, Taming 
of the Shrew, Hi. 2; seeming a, and playing the devil, Richard III, 
i. 3 ; have hands that pilgrims' hands do touch, Romeo and Juliet, i. 
5 ; a damned, Romeo and Juliet, Hi. 2. 

Saint Albans, scene of a part of II. Henry VI; battle of 
(May 22, 1455), II Henry VI, v. 2, 3; III. Henry VI, i. 1; Rich- 
ard III, i. 3. The last reference is to the second battle, which took 
place February 17. 1461. The Yorkists were defeated by Queen 
Margaret's forces. Saint Albans is in Hertfordshire, twenty miles 
northwest of London. 

Saint Albans, Mayor of, character in II Henry VI. intro- 
duced in ii. 1. The town was not incorporated until 1552, and 
therefore had no mayor at this time. 

Saint Bennet's Church, in Illyria, Twelfth Night, v. 1. There 
was a Saint Bennet's church in London. 

Saint Colmes' Inch (Saint Colomb's Island), Macbeth, i. 2. 
Sweno was made to pay heavily, according to the " Chronicle," for 



312 INDEX TO SHAKSPERE'S WORKS. 

the privilege of burying his men at Colmes' Inch, now Inehcomb, a 
small island in the Firth of Forth. 

Saint Edmund's Bury, scene of a part of King John. 

Saint George, our ancient word of courage, Richard III., v. 3. 

Saint Paul's Cathedral, Richard III, Hi. 6. It was the cus- 
tom to post bulletins there for the public to read. 

Salad-days, my, when I was green in judgment, Antony and 
Cleopatra, i. 5. 

Salamander, that, applied to Bardolph, I. Henry IV., Hi. 3. 

Salanio, or Solanio, character in the Merchant of Venice, intro- 
duced in the first scene, a friend of Antonio and Bassanio. 

Salarino, a character in the Merchant of Venice, introduced in 
the first scene, a friend of Antonio and Bassanio. 

Salerio, a friend of Bassanio in the Merchant of Venice, appears 
as a messenger in Hi. 2. 

Salic law, the, explained, Henry V., i. 2. 

Salisbury, scene of v. 1, in Richard 111. It is seveuty-eight 
miles west-southwest of London. 

Salisbury, William Longsword, Earl of, character in King John, 
introduced in the first scene. His abhorrence of John's treachery to 
Arthur caused him to go over to the side of France, iv. 2 ; but he 
returned after the accession of Henry III. He was a son of Henry 
II. and the fair Rosamund Clifford. 

Salisbury, John Montacute, Earl of, a character in Richard II, 
first appears in ii. 4. He was beheaded (v. 6) in consequence of his 
adherence to Richard. The earl in Henry V. was his son. 

Salisbury, Thomas Montacute, Earl of, character in Henry V. 
and 1. Henry VI, appearing first in iv. 3 of the former play. He 
was restored to his father's title, forfeited for adherence to Richard 
II., after about ten years, and was one of the ablest captains under 
Henry V. in France, where he was killed, as in the play, before Or- 
leans, 7. Henry VI, i. 4. He was " as full of valour as of kind- 
ness, princely in both." He had no son, and the title went to Rich- 
ard Nevill, the Salisbury of the next play, who married his only 
daughter Alice. 

Salisbury, Richard Nevill, Earl of, son-in-law of the preceding, 
character in II Henry VI He was at first a partisan of the king, 
but deserted to the Yorkists, fought at Saint Alban's, Bloreheath, 
Northampton, and "Wakefield. At the last-named battle he was 
wounded and taken, and soon afterward beheaded. Warwick, " the 
king-maker," was his son, and succeeded to His father's title, though 



INDEX TO SHAKSPERE'S WORKS. 313 

he is known in history and literature by the title that he received 
through his wife. 

Sallet (a close-fitting head-piece), i7. Henry VI, iv. 10. 

Salt-butter rogue, a, Merry Wives of Windsor, ii. 2. One not 
rich enough to eat freshly made butter. 

Saltiers (satyrs). A Winter's Tale, iv. 3. 

Saltpetre, villainous, /. Henry IV., i. 3. 

Salutations, Coriolanus, ii. 1 ; Henry V., iv. 1 ; Othello, ii. 1 ; 
quiet, Midsummer-Night's Dream, v. 1; to Octavia, Antony and 
Cleopatra, Hi. 6. 

Salvation, AWs Well that Ends Well, iv. 3, " Sir, for a quart 
d'ecu he will sell the fee-simple of his salvation." 

Samingo (San Domingo), II. Henry IV., v. 3. 

Samphire, a gatherer of, King Lear, iv. 6. 

Sampson, a servant of Capulet, character in Romeo and Juliet, 
appears in i. 1. 

Samson, Love's Labour's Lost, i. 2 ; I. Henry VI, i. 2 ; Henry 
VIII, v. 3. 

Sanctuary, the privilege of, Comedy of Errors, v. 1 ; Richard 
III, ii. 4 ; Hi. 1 ; shall we desire to raze (to put the holy to base 
uses), Measure for Measure, ii. 2, last part ; no place should be, for 
murder, Hamlet, iv. 7 or 4. 

Sandal Castle, two miles from Wakefield, scene of III. Henry 
VI, i. 2-4. It was built about 1320 ; during the civil war it was 
besieged by the parliamentary army, and afterward destroyed by 
order of Parliament, and but little now remains of the ruins. 

Sanded (sandy-coloured), Midsummer-Nights Dream, iv. 1. 

Sands (Sandys), William, Lord, character in Henry VIII, intro- 
duced in *. 3. 

Sans (without, a French word in common use in Shakspere's 
time), As You Like It, ii. 7, and elsewhere. 

Sarcasm, Much Ado about Nothing, ii. 1. 

Sardis, scene of, Julius Ccesar, iv. 2. It is forty-five miles east 
of Smyrna, in Asia Minor. 

Sarum Plain, King Lear, ii. 2. Sarum is the local name for 
Salisbury. 

Satan, slanderous as, Merry Wives of Windsor, v. 5. See Devil. 

Satiety. See Surfeit, Excess. 

Satire, keen and critical, Midsummer- Night's Dream, v. 1 ; wit 
larded with malice, Troilus and Cressida, v. 1 ; liberty for, As You 
Like It, ii, 7 ; Love's Labour's Lost, v. 2. 



314 INDEX TO SHAKSPERE'S WORKS. 

Satisfaction, Merchant of Venice, iv. 1, " He is well paid that is 
well satisfied." 

Satisfy (quench), Measure for Measure, Hi. 1. 

Satis quod sufficit, Love's Labour's Lost, v. 1. Enough is as 
good as a feast. 

Saturn, Much Ado about Nothing, i. 3 ; II. Henry IV., ii. 4; 
Titus Andronicus, ii. 3 ; Cymbeline, ii. 5 ; Sonnet xcviii. 

Saturninus, a character in Titus Andronicus, son of the late 
emperor, and afterward emperor, introduced in the first scene, where 
he urges his hereditary claim to the throne. He is made emperor at 
the instance of Titus, and marries Tamora, queen of the Goths; 
kills Titus (v. 3), who has just slain Tamora ; and is himself killed by- 
Lucius, who becomes his successor. 

Satyr(s), A Winter's Tale, iv. 4 ; Hyperion to a, Hamlet, i. 2. 
They were goat-like deities of the woods and fields. 

Savages, life of, Cymbeline, Hi. 3 ; Twelfth Night, iv. 1. 

Saviolo, Vincentio. See Duelling. 

Saviour. See Christ. 

Savoy, the, II. Henry VI, iv. 7. A palace of the Duke of Lan- 
caster, destroyed in Wat Tyler's rebellion in 1381. It was on the 
bank of the Thames. 

Saws, full of wise, As You Like It, ii. 7. 

Say (a kind of woollen cloth), II. Henry VI, iv. 7. 

Say (and Sele), James Fiennes, Lord, character in II. Henry VI, 
introduced in iv. 4- In iv. 2 Cade's men resolve to have his head, 
and in iv. 7 he is taken. His head was set on London Bridge. 

Say that thou didst forsake me for some fault, Sonnet 
Ixxxix. 

Scales, Thomas, Lord, character in II. Henry VI, appears in 
iv. 5, spoken of in I. Henry VI, i. 1 ; his daughter, III. Henry VI, 
iv. 1. He was put to death by the Yorkists in 1460. His only 
daughter and heiress married Earl Rivers. 

Scaling (weighing), Coriolanus, ii. 3. 

Scall (scald-head), Merry Wives of Windsor, Hi. 1. 

Scambling, Henry V., i. 1; v. 2. Mondays and Saturdays in 
Lent were called scambling days. No regular meals were served, 
and members of the household scambled or served themselves as 
best they could. 

Scamels, The Tempest, ii. 2. The meaning is uncertain : the 
sea-gull, the young of the limpet or scam, and the kestrel or stan- 
nyel, have been suggested. 



INDEX TO SHAKSPERE'S WORKS. 315 

Scandal, Julius Ccesar, i. 2 ; Sonnet cxii. 

Scantling (portion), Troilus and Cressida, i. 3. 

Scape-goat, Lepidus to be made a, Julius Ccesar, iv. 1. 

Scarce had the sun dried up the dewy morn, Passionate 
Pilgrim, vi. 

Scarecrow, of the law, a, Measure for Measure, ii. 1; Talbot 
exhibited as a, /. Henry VI, i. 4 ; called a crow-keeper, Romeo and 
Juliet, i. 4. 

Scarlet, and John, Merry Wives of Windsor, i. 1. Robin Hood's 
men. 

Scarre, AIVs Well that Ends Well, iv. 2 ; Cymbeline, v. 5. So 
in some editions. The meaning is uncertain, but seems to be occa- 
sion or opportunity. 

Scars, he jests at, that never knew a wound, Romeo and Juliet, 
ii. 2 ; shown by a candidate, Coriolanus, ii. 2. 

Scarus, character in Antony and Cleopatra, introduced in Hi. 

10, friend of Antony. 

Schoolboy, the whining, As You Like It,ii. 7 ; stupidity of the, 
Much Ado about Nothing, ii. 1. 

School-days, friendship of, Midsummer-Nigh fs Dream, Hi. 2. 

Schoolmasters, Miranda's, The Tempest, i. 2 ; pretended, Tam- 
ing of the Shrew, i. 1, 2. See Holofernes, Evans, and Pinch. 

Sciatica, Measure for Measure, i. 2 ; Timon of Athens, iv. 1. 

Scogan, Henry, said in II. Henry IV., Hi. 2, to have had his 
head broken by Falstaff. He wrote a ballad to the princes, sons of 
Henry IV. 

Scone, a place near Perth, where the Scottish kings were 
crowned, Macbeth, ii. 4, and the last line of the play. 

Scorn, in love, Two Gentlemen of Verona, Hi. 1 ; in her eyes, 
Much Ado about Nothing, Hi. 1; the slow finger of, Othello, iv. 2; 
of love, Venus and Adonis, I. 252 ; of the people, Coriolanus, Hi. 1 ; 

11. Henry IV, iv. 1 ; the argument of one's own, Much Ado about 
Nothing, ii. 3 ; and derision never come in tears, Midsummer- 
Night's Dream, Hi. 2. 

Scotland, scene of the greater part of Macbeth. It is thought 
that a play on a Scotch subject was desired to be represented before 
James 1. Its misery under Macbeth, iv. 3 ; its barrenness, Comedy 
of Errors, Hi. 2. 

Scots, invasions of England by, and king of, taken, Henry V., i. 2. 

Scottish lord, a, described. Merchant of Venice, i. 2. 

Scrimer (escrimeur, fencer), Hamlet, iv. 7 or 4. 



316 INDEX TO SHAKSPERE'S WORKS. 

Scripture, the devil can cite, Merchant of Venice, i. 3; odd 
ends from, Richard III., i. 3. See Bible. 

Scrofula, cure of, by the king, Macbeth, iv. 3. See King's Evil. 

Scroop, or Scrope, Sir Stephen, a character in Richard II, in- 
troduced in in. 2. He was a loyal friend to Richard, but was after- 
ward taken into favour by Henry IV. His son is the Lord Scroop 
who is a character in Henry V. 

Scroop, Richard, Archbishop of York, character in both parts of 
Henry IV. In i. 3 of the first part, he is spoken of as disaffected 
toward the king on account of the death of his brother, the Earl of 
Wiltshire. He was not, however, a brother of the earl, who was a 
Scroop of Masham, brother of Lord Scroop of Richard II, and uncle 
of the one of Henry V. Many historians are said to have made the 
error into which Shakspere has fallen. The archbishop joins North- 
umberland's party in opposition to the king. In the second part he 
appears first in i. 3, where the conspirators meet at his palace. In 
iv. 1 and 2, they receive an embassy from the king and disperse their 
army. But the king's party did not keep its faith, and the arch- 
bishop was condemned with scarcely a form of trial and executed in 
1405. This was the first instance of capital punishment inflicted on 
a bishop. He requested the executioner to despatch him with five 
strokes of the sword, in memory of the five wounds of the Saviour. 
He was regarded as a martyr, and pilgrimages were made to his tomb. 

Scroop, Henry, Lord, of Masham, character in Henry V. His 
connection with a conspiracy to murder the king is spoken of in the 
prologue to act ii. He is exposed and ordered to execution in ii. 2, 
where the king reproaches him for his treachery toward a monarch 
whose intimate friendship he had enjoyed, and whose counsels he had 
shared. The king had sent him on an embassy to France, and he 
was said to have been corrupted while there by the offer of an enor- 
mous bribe. He was beheaded in 1415. 

Scroyles (scrubs), King John, ii. 1 or 2. 

Scruple, some craven, Hamlet, iv. 4 or 1 ; a Trojan slave for 
every, of Helen's weight, Troilus and Gressida, iv. 1. 

Sculls, scaled (schools of fishes), Troilus and Cressida, v. 5. 

Sculpture, Cymbeline, ii. 4> A Winter's Tale, v. 2, 3. 

Scylla and Charybdis, Merchant of Venice, Hi. 5. 

Scythian, the barbarous, King Lear, i. 1. 

Sea, the, storms on, The Tempest, i. 1 ; II. Henry IV., Hi. 1 ; 
grew civil, Midsummer-Night's Dream, ii. 2 ; allusion to the notion 
that those buried in, could not rest for one hundred years, Midsum- 



INDEX TO SHAKSPERE'S WORKS. 317 

mer-Nighfs Dream, Hi. 2 ; obeys the moon, A Winter's Tale, i. 2 ; 
I. Henry IV., i. 2 ; treasures of, Henry V., i. 2 ; backed with, III. 
Henry VI, iv. 1 ; the bottom of, Richard III, i. 4 ; what fool hath 
added water to, Titus Andronicus, Hi. 1 ; in storm, King Lear, Hi. 
7 ; Othello, ii. 1 ; dangers of, Pericles, ii., prologue ; watery king- 
dom, Merchant of Venice, ii. 6 ; a thief, Timon of Athens, iv. 3. 

Sea-captains, characters in The Tempest, introduced in i. 2, and 
in Twelfth Night, introduced in i. 2. 

Sea-change, suffered a, The Tempest, i. 2, song. 

Seacoal, George, mentioned in Much Ado about Nothing, Hi. 3. 

Seacoal-fire, a, 77. Henry IV., ii. 1. So called because the coal 
was brought across the sea. 

Seal, the great, Henry VIII, Hi. 2. 

Sea-maid, music of, See under Maidenhood. 

Seamanship, The Tempest, i. 1 ; Twelfth Night, v. 1, " A baw- 
bling vessel was he captain of," etc. 

Sea-monster, the, King Lear, i. 4. Probably the hippopota- 
mus, which stood for ingratitude. 

Sear, Hamlet, ii. 2. The part of a gun acted on by the trigger ; 
to be tickled of the sear, is to be easily moved. 

Seas, the multitudinous, Macbeth, ii. 2. 

Season, the right, makes perfect, Merchant of Venice, v. 1; 
roses and snow out of, Love's Labour's Lost, i. 1 ; the appropriate, 
Antony and Cleopatra, ii. 2, " Every time serves for the matter that 
is then born in it." 

Seasons, inappropriate weather of, due to fairies, Midsummer- 
Night's Dream, ii. 1 ; supposed to allude to the peculiar weather of 
1594 ; unnatural, are omens of ill, II. Henry 1 V. iv. 4. 

Sebastian, brother of the King of Naples, in The Tempest, ap- 
pears in the first scene. He is a base character, aggravating his 
brother's grief at the loss of his son with reproaches and mockery, 
and plotting with Antonio to take the king's life in order that he 
himself may secure the throne. 

Sebastian, name assumed by Julia in the Two Gentlemen of 
Verona, iv. .4. 

Sebastian, brother of Viola in Twelfth Night, first appears in 
ii. 1, a simple, manly, straightforward character. 

Secrecy, AIVs Well that Ends Well, iv. 3, " I am the grave of 
it;" no lady closer for, I. Henry IV., ii. 3 ; let your secrecy moult 
no feather, Hamlet, ii. 2; give it an understanding but no tongue, 
Hamlet, %. 2. 



318 INDEX TO SHAKSPERE'S WORKS, 

Secretaries, of Wolsey in Henry VIII., were Dr. Richard Pace 
(q. v.) and William Burbank. 

Secret(s), deep and dangerous, I. Henry IV., i. 3; trusting a 
woman with, I. Henry IV., ii. 3 ; Julius Ccesar, ii. 1 ; trusting the 
air with, Titus Andronicus, iv. 2 ; key of a, Hamlet, i. 3; hints 
about a, Hamlet, i. 5, end ; revealing, Hamlet, Hi. 4; rip the heart 
to find a, Cymbeline, lii. 5; two may keep, Romeo and Juliet, 
ii. 4> 

Sect, a creature to begin a, with success, A Winter's Tale, v. 1 ; 
love a, Othello, i. 3. 

Sectary, Cranmer called a, Henry VIII, v. 3 ; an astronomical 
(astrologer), King Lear, i. 2. 

Security, for debt, Falstaff on, II. Henry IV.. i. 2 ; obstacle to, 
Macbeth, Hi. 4; mortals' enemy, Macbeth, Hi. 5; for Scotland, 
Macbeth, Hi. 6 ; our advantages lull us to false, King Lear, iv. 1, 
" Our means secure us ; " make assurance doubly sure, Macbeth, iv. 
1; fast find, fast bind, Merchant of Venice, ii. 5. 

Sedges, Two Gentlemen of Verona, ii. 7 ; Much Ado about 
Nothing, ii. 1 ; Taming of the Shrew, induction, 2. 

Sedition. See Insurrection, Rebellion. 

Seel (to close up the eyes, as in the training of a hawk), II. Hen- 
ry I V., Hi. 1 ; Macbeth, Hi. 1 ; Othello, i. 3 ; Hi. 3. 

Seely, Sir Bennet, mentioned in Richard II., v. 6, as having 
been beheaded. This character is variously called Sir Bennet or 
Benedict Seely, Sir John Scheveley, and Sir John Shelley. 

Seemers (hypocrites), revelation of, Measure for Measure, i. 4-> 
end. 

Seeming, faults from, Measure for Measure, Hi. 2 ; appearance 
of humane, Othello, ii. 1 ; I know not seems, Hamlet, i. 2 ; decep- 
tive, Much Ado about Nothing, iv. 1. 

Seen (versed), in music, Taming of the Shrew, i. 2. 

Seen, to have, much, As You Like It, iv. 1. 

Segregation (scattering), Othello, ii. 1. 

Seized (possessed), Hamlet, i. 1. 

Seleucus, Cleopatra's treasurer, introduced in v. 2 of Antony 
and Cleopatra, where he declares her inventory false, and is re- 
proached by her for his ingratitude. 

Self, to see one's, as others see, As You Like It, i. 2, speech of 
Celia ; my other, Richard III., ii. 2 ; Troilus and Cressida, Hi. 2 ; 
swear by thy gracious, Romeo and Juliet, ii. 2 ; faults of one's, 
Lucrece, I. 633. 



INDEX TO SHAKSPERE'S WORKS. 319 

Self-abnegation, in love, Sonnets xxxv.-xxxix., Ixxxviii.-occ., 
clxix. 9 

Self-accusation, of Helena, All's Well that Ends Well, Hi. 2 ; 
of Malcolm, Macbeth, iv. 3. 

Self-assumption, Troilus and Cressida, ii. 3. 

Self-betrayal, Lucrece, I. 160. 

Self-bounty (natural generosity), Othello, Hi. 3. 

Self-charity, Othello, ii. 3. 

Self-comparisons, Macbeth, i. 2. Blows to compare with his 
own. 

Self-condemnation, by over-severity, Measure for Measure, 
Hi. 2. 

Self-control, King John, Hi. 1, '• Better conquest," etc. ; Sonnet 
xciv. ; Othello, i. 3. 

Self-covered, King Lear, iv. 2. Disguising the real self. 

Self-defence, III. Henry VI, ii. 2, " The smallest worm," etc. ; 
killing in, Timon of Athens, Hi. 5 ; Othello, ii. 3, speech of Montano. 

Self-denial, Love's Labour's Lost, i. 1, " Brave conquerors," etc. 

Self-esteem, of Glendower, I. Henry IV., Hi. 1 ; Twelfth Night, 
ii. 3. 

Self-examination, Measure for Measure, ii. 2, " Go to your 
bosom," etc. ; Coriolanus, ii. 1, " Oh, that you could turn your eyes 
toward the napes of your necks, and make an interior survey of your 
good selves." 

Self-help, All's Well that Ends Well, i. 1, end. 

Self-interest, in serving, King Lear, ii. 4. See also Commodity. 

Self-knowledge, Measure for Measure, ii. 2 ; All's Well that 
Ends Well, iv. 1, " Is it possible he should know what he is and be 
that he is?" 

Self-love, the most inhibited sin, All's Well that Ends Well, 
i. 1; sensitiveness of, Twelfth Night, i. 5; not so vile as self- 
neglecting, Henry V., ii. 4 ; none, in a true soldier, II. Henry VI, 
v. 2 ; read contrary, Sonnet Ixii. ; is universal, Othello, i. 3. 

Self-praise, All's Well that Ends Well, i. 3, " We wound our 
modesty," etc. ; Troilus and Cressida, i. 3, speech of JEneas ; ii. 3, 
li He that is proud," etc. 

Self-reliance, All's Well that Ends Well, i. 1, " Our remedies oft 
in ourselves do lie." 

Self-slaughter. See Suicide. 

Self-unable (not self-guided) motion, All's Well that Ends 

Well, Hi. 1. 

28 



320 INDEX TO SHAKSPERE'S WORKS. 

Semblable (like, likeness), Timon of Athens, iv. 3 ; Hamlet, v. 2. 

Semiramis, Taming of the Shrew, induction, 2 ; Titus Androni- 
cus, ii. 1. A traditionary Queen of Assyria about 2000 b. c. 

Semper idem (always the same), for absque, etc. (without this 
there is nothing), scraps of Latin that Pistol has picked up from 
mottoes, II. Henry IV., v. 5. 

Sempronius, a kinsman of Titus Andronicus, addressed in iv. 3. 

Sempronius, one of the lords, flatterers of Timon of Athens, in- 
troduced in Hi. 3, refuses a loan to Timon on the pretence of anger 
at not having been applied to first. 

Senators, characters in Julius Caisar, Timon of Athens, Titus 
Andronicus, Cymbeline, and Othello. 

Seneca, quotations from, Titus Andronicus, ii. 1 ; iv. 1; cannot 
be too heavy, Hamlet, ii. 2. 

Senoys (Sienese), the, Alls Well that Ends Well, i. 2. 

Sensation, a theory of, Lucrece, I. 442. 

Sense, common, AWs Well that Ends Well, ii. 1. 

Senseless, exceeding good, Twelfth Night, Hi. 4. 

Senses, of the king, have but human conditions, Henry V., iv. 
1 ; other senses imperfect from the eyes' anguish, King Lear, iv. 6 ; 
untuned, King Lear, iv. 7. 

Sentence, a, like a glove, Twelfth Night, Hi. 1. 

Sentences, drunk out of his five, Merry Wives of Windsor, i. 1. 

Separation. See Parting. 

Sepulchre, the Holy, Richard II, ii. 1. 

Sequent (follower), Love's Labour's Lost, iv. 2. 

Serenade, Lysander's, Midsummer-Night's Dream, i. 1. 

Serenity, of temper, Hamlet, Hi. 2. 

Sergeant, a soldier in Macbeth, i. 2. The title was applied to 
an officer of higher rank formerly than now. The sergeant ranked 
next to the esquire. 

Sergeant-at-arms, a, character in Henry VIII, i. 1. 

Sermons, in stones, As You Like It, ii. 1. 

Serpent(s), look like the flower, but be the, Macbeth, i. 5 ; allu- 
sion to the belief that the bite of one could be cured by its blood, 
Richard II, i. 1, " I am disgraced," etc. ; allusion to the absence of, 
from Ireland, Richard II, H. 1, " Now for our Irish wars," etc. ; 
lest pity prove a, Richard II, v. 3, allusion to the fable of the farmer 
and the viper ; of old Nile, Antony and Cleopatra, i. 5 ; the worm 
of Nilus, Antony and Cleopatra, v. 2; bred of mud by the sun, An- 
tony and Cleopatra, ii. 7. 



INDEX TO SHAKSPERE'S WORKS. 321 

Serpigo (a skin disease), Measure for Measure, Hi. 1 ; Troilus 
and Cressida, ii. 3. 

Servant(s), true, A Winter' 's Tale, i. 2, "Why he that wears," 
etc. ; treatment of a, Comedy of Errors, iv. 4 ; faithlessness of, Hen- 
ry VIII., ii. 1 ; addressed by the master's name (Varro), Timon of 
Athens, ii. 2 ; faithful, Timon of Athens, iv. 2 ; kept feed, Macbeth, 
Hi. 4 ; sworn (alluding to the custom of servants taking an oath of 
fidelity), Cymbeline, ii. 4 ; a good, does only just commands, Cymbe- 
line, v. 1 ; an unprofitable, Merchant of Venice, ii. 5. 

Service, of the antique world, As You Like It, ii. 3 ; zealous, of 
the king, Henry VIII., Hi. 2; folly of faithful, Othello, i. 1; to the 
state, Othello, v. 2. 

Servilius, a servant of Timon of Athens, introduced in ii. 2. 

Sessa (cease), Taming of the Shrew, induction, 1; King Lear, 
Hi. 6. 

Setebos, the name of a god spoken of by Caliban as the god of 
his mother Sycorax, The Tempest, i. 2 ; v. 1. In Richard Eden's 
" History of Travayle," London, 1577, Setebos is given as the name 
of a god worshipped by the Patagonians. 

Seven ages of man, the, As You Like It, ii. 7. 

Several (a field enclosed, not common), Love's Labour's Lost, ii. 1. 

Severn River, the, affrighted, X Henry IV., i. 3 ; the sandy- 
bottomed, I. Henry IV., Hi. 1. 

Sewer (one who placed dishes on the table), Macbeth, i. 7. 

Sexton, a, character in Much Ado about Nothing, iv. 2. 

Seymour, Richard de St. Maur, Lord, spoken of in Richard II., 
ii. 3, as being at Berkeley Castle with the Duke of York. 

Seyton, name of an officer attending Macbeth in v. 3, 5. 

Shadow, a recruit in II. Henry IV., appears in Hi. 2. 

Shadows, those that kiss, Merchant of Venice, ii. 9; of the 
king, I. Henry IV., v. 4 ; to fill the muster-roll, II. Henry IV., Hi. 
2 ; have struck more terrors than the substance of ten thousand sol- 
diers, Richard III., v. 3. 

Shafalus, true to Procrus, Midsummer-Night's Dream, v. 1. See 
Procris. 

Shaft, one sent after another, Merchant of Venice, i. 1; the 
rich golden (Cupid's), Twelfth Night, i. 1; or a bolt, see Proverbs. 

Shall, his popular shall, Coriolanus, Hi. 1. 

Shall I compare thee to a summer day ? Sonnet xviii. 

Shallow, Robert, a country justice in II. Henry IV., introduced 
in Hi. 2, and in the Merry Wives of Windsor, introduced in the first 



INDEX TO SHAKSPERE'S WORKS. 

scene. He is a fool, a braggart, and a liar, boasting of sins in his 
youth which he never committed. The character is supposed to be 
a caricature of Sir Thomas Lucy, who caused Shakspere to be ar- 
rested for stealing deer. See Lucy. 

Shallowness, All's Well thai Ends Well, ii. 3. " I did think 
thee," etc., and " Do not plunge," etc. ; Hastings accused of, II. Hen- 
ry IV., iv. 2. 

Shame, death the fairest cover for, Much Ado about Nothing, 
iv. 1; hath spoiled the world, King John, Hi. 4; marked by Nature 
to do a deed of, King John, iv. 2 ; not to be borne, even at the 
king's command, Richard II, i. 1 ; serves thy life and attends thy 
death, Richard III., iv. 4 ; ashamed to sit upon his brow, Romeo and 
Juliet, Hi. 2 ; where is thy blush, Hamlet, Hi. 4; a sovereign, King 
Lear, iv. 3 ; imagines itself detected, Lucrece, I. 1342. 

Shards (wings), of the beetle, Macbeth, Hi. 2; Antony and Cleo- 
patra, Hi. 2 ; Cymbeline, Hi. 3 ; (fragments of pottery), Hamlet, v. 1. 

Sharked (gathered or snapped), Hamlet, i. 1. To shark is to 
live by shifts. 

Shaving, of the head before execution. Measure for Measure, 
iv. 2. Prisoners often desired to receive the tonsure of the monks 
before death. 

Shaw, Dr. Ralph, Richard III, Hi. 5. He and Friar Penker 
are sent for by Gloucester to meet him at Baynard's Castle. Sir 
Thomas More says they were " both doctors in divinity, both great 
preachers, both of more learning than virtue, of more fame than 
learning, and of more learning than truth." Dr. Shaw was a brother 
of the lord mayor, Sir Edmund Shaw. 

She, the unexpressive, As You Like It, Hi. 2. 

Shealed (shelled), King Lear, i. 4. 

Shearman (tailor), II. Henry VI, iv. 2. 

Shears, a pair of — proverbial saying, Measure for Measure, i. 2. 

Sheba, Queen of. See Saba. 

Sheep, love kills, Love's Labour's Lost, iv. 3 ; the harmless, III. 
Henry VI, v. 5. 

Sheep-biter (thief), Twelfth Night, ii. 5. 

Sheep-shearing, feast at, A Winter's Tale, iv. 3, 4. 

Shent (scolded), Merry Wives of Windsor, i. 4; Twelfth Night, 
iv. 2 ; Troilus and Cressida, ii. 3 ; Coriolanus, v. 2 ; Hamlet, Hi. 2. 

Shepherd, the unfolding star calls up the, Measure for Meas- 
ure, iv. 2; life of a, As You Like It, Hi. 2 ; III. Henry VI, ii. 5; 
philosophy of a, As You Like It, Hi. 2 ; dead, As You Like It, Hi. 5. 



INDEX TO SHAKSPERE'S WORKS. 323 

The dead shepherd is Marlowe, and the saw is quoted from his 
" Hero and Leander," published in 1598. 

Shepherd, an old, is a character in A Winter's Tale, introduced 
in Hi. 3, the reputed father of Perdita. 

Shepherd, an old, a character in 1. Henry VI., father of Joan 
of Arc, introduced in v. 4, where he is denied by his daughter. 

Shepherd to his love, the (by Christopher Marlowe), Passion- 
ate Pilgrim, xx. 

Shepherdesses. See Mopsa and Dorcas. 

Sheriff, of Northamptonshire, character in King John. Sir Si- 
mon de Pateshull. 

Sheriff, a, character in I. Henry IV. 

Sheriff of York, mentioned in II. Henry IV. Sir Thomas 
Rokeby. 

Sheriff, a, character in II. Henry VI. 

Sheriff, of Wiltshire, character in Richard III., first appears in 
v. 1. Henry Long, of Wraxall. 

Sheriff's post, Twelfth Night, i. 5. Set up at the sheriff's door 
for placing notices on. 

Sherris, effects of, II. Henry IV., iv. 3. 

Ship(s), scene on a, The Tempest, i. 1 ; carcass of a, The Tem- 
pest, i. 2 ; cannot perish, having thee on board, Two Gentlemen of 
Verona, i. 1 ; movement of, Henry V., Hi., chorus, " Behold the 
threaden sails," etc. ; the state like a, in danger, III. Henry VI., v. 
4 ; Grecian, Troilus and Cressida, prologue. 

Shipwreck, The Tempest, i. 2 ; ii. 1 ; Comedy of Errors, i. 1 ; 
Twelfth Night, i. 2 ; A Winter's Tale, Hi. 3 ; Merchant of Venice t 
Hi. 2. 

Shirley, Sir Hugh, the Shirley mentioned in I. Henry IV., v. 4, 
as having worn one of the coats of the king at Shrewsbury, and hav- 
ing been slain. 

Shirt, a. and a half, in a whole company, I. Henry IV., iv. 2; of 
Nessus, Antony and Cleopatra, iv. 10. 

Shive (slice), Titus Andronicus, ii. 1. 

Shoe-maker, the, should meddle with his yard and the tailor 
with his last, Romeo and Juliet, i. 2. 

Shoe-tie, a traveller and prisoner, spoken of in Measure for 
Measure, iv. 3. This was a name commonly applied to a traveller. 

Shog (jog), Henry V., ii. 1, 3. 

Shore, Jane. Richard III., i. 1 ; Hi. 4, 5. Mistress of Edward 
IV., and afterward of Hastings. 



324: INDEX TO SHAKSPERE 'S WORKS. 

Shortcake, Alice, Merry Wives of Windsor, i. 1. 

Shot, to pay, Two Gentlemen of Verona, ii. 5. 

Shoughs (a shaggy kind of dogs), Macbeth, Hi. 1. 

Shoulder-shotten (having a dislocated shoulder), Taming of 
the Shrew, ii. 3. 

Shovel-boards, Merry Wives of Windsor, i. 1. The broad shil- 
lings pi Edward VI. were used in playing the game of shuffle-board, 
and were familiarly called by the name of the play. The game was 
also called shove-groat, and is alluded to in II. Henry IV., ii. 4. 

Show, the outward, seldom jumpeth with the heart, Richard 
III., Hi. 1. 

Show, a street, Coriolanus, ii. 1. 

Shrewd (shrewish), Taming of the Shreiv, i. 1, 2, and elsewhere. 

Shrewsbury, scene of part of I. Henry IV. ; rebel forces at, I. 
Henry IV., Hi. 2; battle of, I. Henry IV., v. 3-5; eve of the battle, 
iv. 4 ; offer of pardon before it, v. 1 ; reports of the battle, II. Hen- 
ry IV., i. 1; Northumberland's failure to be at, II. Henry IV., ii. 3. 
It is one hundred and forty miles northwest of London. The battle 
was fought July 23, 1403. 

Shrewsbury clock, fought a long hour by, I. Henry IV., v. 4. 

Shrewsbury, Earl of. See Talbot. 

Shrieve (sheriff), AIVs Well that Ends Well, iv. 3. 

Shrift, a short, Richard III, Hi. 4; riddling confession makes 
riddling shrift, Romeo and Juliet, ii. 3. 

Shroud (protection), Antony and Cleopatra, Hi. 11 or 13 ; III. 
Henry VI, iv. 3. 

Shrove-Tuesday, fit as a pancake for, AIVs Well that Ends 
Well, ii. 2. The English peasantry call the day " pancake Tuesday." 

Shylock, the Jew in the Merchant of Venice, introduced in i. 3. 
His impassioned appeal in the first scene of the third act, " Hath not 
a Jew eyes," etc., is the only place where Shakspere seems to intend 
arousing the least sympathy for the usurer. In all other scenes his 
meanness and avarice are dwelt upon almost to the exclusion of his 
justifiable resentment at the insults to his race. He hates Antonio 
more for spoiling his business than for reviling his religion ; and he 
would gladly see his only child dead before him if he might regain 
his ducats. There seems to be no reason to believe that Shakspere 
intended any rebuke to the Jew-hating spirit of his time. 

"Hebler does not hesitate to call Shylock a comic personage, 
whose fate, proportionately, is no harder, rather milder, than that 
which finally befalls other comic characters, Falstaff, for example. 



INDEX TO SHAKSPERE'S WORKS. 325 

Gervinus is vexed that ■ vulgarity and madness could go so far as to 
make a martyr out of this outcast of humanity.' A martyr he cer- 
tainly is not, but we must allow extenuating circumstances in his 
favor. . . . But who made him a usurer f . . . We know no other 
answer to this question but that the Christians have made Shylock 
what he is. We do not mean to say that Shak-pere intended to hint 
at anything of the kind, although the temptation to draw such infer- 
ences lies nearer in this play than elsewhere in Shakspere. Whether 
the poet intended it or not, Shylock, in his hands, has become the 
representative of Judaism in its lowest degradation, and this degrada- 
tion has undeniably been caused by centuries of political and social 
bondage." — Karl Elze. 

Sibyl, as old as, Taming of the Shrew, i. 2 ; work of a, Othello, 
Hi. 4. 

Sibylla (the sibyl), Merchant of Venice, i. 2. 

Sibyls, the nine, of Home, I. Henry VI., i. 2. There were not 
nine sibyls of Rome, but nine books offered to Tarquin by the sibyl. 
The number of all the sibyls is variously stated at from two to 
twelve, the last being the number given by the mediaeval monks, 
who ascribed to each a prophecy of Christ. 

Sicilia, scene of a part of A Winter's Tale. 

Sicilian Lord, a, character in A Winter's Tale. 

Sicily, King of. See Reignier. 

Sicinius Velutus, e, tribune of the people, character in Corio- 
lanus, introduced in i. 1 ; Menenius on, ii. 1. He and Brutus are 
typical politicians, crafty, cowardly, dextrous, and vain of their 
authority. 

Sick, the, Birone sentenced to visit and cheer them. Love's La- 
bour's Lost, v. 2. 

Sickness, untimely, I. Henry IV., iv. 1; thrown off, Julius 
Caesar, ii. 1, end ; leisure for, I. Henry IV., iv. 1. 

Sic spectanda fides, Pericles, ii. 2. Thus faith is to be proved. 

Sidney, Sir Philip (1554-1586), quotation from, Merry Wives 
of Windsor, Hi. 3, M Have I caught my heavenly jewel," the first 
line of a song in "Arcadia." See under King Lear and Ham- 
let. 

Siege (seat, rank), Measure for Measure, iv. 2 ; Hamlet, iv. 7 or 
4 ; Othello, i. 2. 

Siege, envious, of Neptune, Richard II, ii. 1; laugh, to scorn, 
Macbeth, v. 5. 

Sieges, of Angicrs, King John, ii. 1; end of the, of Harfleur, 
Henry V., Hi. 3; of Orleans, /. Henry VI, i. 2, 4-6; ii. 1, 2 ; of 
Corioli, Coriolanus, i. 4- 



326 INDEX TO SHAKSPERE'S WORKS. 

Sieve, as water in a, Much Ado about Nothing, v. 1 ; AIVs Well 
that Ends Well, i. 3 ; a vehicle for witches, Macbeth, i. 3. 

Sighs, cooling the air with, The Tempest, i. 2 ; to drive a boat, 
Two Gentlemen of Verona, ii. 3; of Imogen, Cymbeline, iv. 2; 
blood-drinking, II. Henry VI., Hi. 2 ; blood-sucking, 111. Henry VI, 
iv. 4 ; to shatter all his bulk, Hamlet, ii. 1 ; a spendthrift, Hamlet, 
iv. 7 or 4. The last alluding to the belief that sighing consumes the 
blood ; blows a man up like a bladder, I. Henry 1 V., ii. 4 ; a battery 
of sighs, III. Henry VI, Hi. 1. 

Sigh no more, song, Much Ado about Nothing, ii. 3. 

Sight, annoyances to, King John, iv. 1 ; more impressive than 
hearing, Lucrece, I. 1324. 

Sightless (invisible), Macbeth, i. 5. 

Signs, of coming trouble, Richard III, ii. 3 ; in the clouds, 
Antony and Cleopatra, iv. 12 ; of the times, Troilus and Cressida, 
i. 3. See Omens. 

Silence, herald of joy, Much Ado about Nothing, ii. 1 ; in whom 
commendable — reputation for wisdom gained by, Merchant of Ven- 
ice, i. 1 ; appeal of, As You Like It, i. 3 ; offending (flouts me), 
Taming of the Shrew, ii. 1 ; and speech, AIVs Well that Ends Well, 
i. 1 ; of innocence, A Winter's Tale, ii. 2 ; before a storm, Hamlet, 
ii. 2 ; not proof of want of love, King' Lear, i. 1; intensifies feeling, 
Venus and Adonis, 1. 331 ; be politic with, 7. Henry VI, ii. 5 ; speech 
in dumbness, A Winter's Tale, v. 2. 

Silence, a country justice in II. Henry IV., first appears in in. 
2, He is a great admirer of Shallow, is very dull when sober, and 
very boisterous when drunk. 

Silius, character in Antony and Cleopatra, introduced in 
Hi. 1. 

Silly-cheat (pocket- picking), A Winter's Tale, iv. 2. 

Silly sooth (simple truth), Twelfth Night, ii. 4. 

Silver, pale and common drudge, Merchant of Venice, Hi. 2. 

Silver, name of the spectre of a hound, The Tempest, iv. 1 ; a 
dog, Taming of the Shrew, induction, 1. 

Silvia, a daring and witty girl in the Two Gentlemen of Verona, 
introduced in ii. 4 / described by her father, Hi. 1. 

Silvius, a shepherd in As You Like It, in love with Phoebe, in- 
troduced in ii. 4, an importunate but humble and long-suffering 
lover, whom no repulses can drive away or incite to reprisals. 

Similes, the most unsavoury, I. Henry IV., i. 2; currish, Tam- 
ing of the Shrew, v. 2. 



INDEX TO SHAKSPERE'S WORKS, 327 

Simois, a river that flows from Mount Ida and joins the Sca- 
mander in the plain of Troy, Lucrece, lines 1437, 144%. 

Simonides, King of Pentapolis, character in Pericles, introduced 
in ii. 2, father-in-law of the prince. 

Simpcox, Saunder, an impostor in II. Henry VI, introduced in 
ii. 1, who pretends to have received his sight by a miracle. His wife 
appears in the same scene. 

Simple, Slenders servant in the Merry Wives of Windsor, intro- 
duced in the first scene. 

Simpleness, and duty, Midsummer-Nighfs Dream, v. 1. 

Simplicity, of the upright, King Lear, i. 2, end; how green 
you are and fresh, King John, Hi. 4. 

Simular (simulator, counterfeit), King Lear, Hi. 2. 

Sin(s), men of, The Tempest, Hi. 3 ; some rise by, Measure for 
Measure, ii. 1 ; results of pardoning, Measure for Measure, ii. 2 ; 
most dangerous temptation to, Jleasicre for Measure, ii. 3 ; com- 
pelled — charity in, Measure for Measure, ii. 4 i comparison of — be- 
come a virtue — not accidental — a trade, Measure for Measure, Hi. 1 ; 
remorse for, and fear of exposure — effect of one, Measure for Meas- 
ure, v. 4 ; teach, the carriage of a saint, Comedy of Errors, Hi. 2 ; 
cunning, can cover itself, Much Ado about Nothing, iv. 1 ; in chid- 
ing sin, As You Like It, ii. 7; allusion to the dogma of original, A 
Winter's Tale, i. 2, "The imposition hereditary ours;" gathering 
head, II. Henry IV., Hi. 1 ; struck down like an ox, I. Henry VI, 
iv. 2; will pluck on sin, Richard III, iv. 2 ; mercy emboldens, Ti- 
mon of Athens, Hi. 5 ; resistance against, Hamlet, Hi. 4; apprehen- 
siveness of, Hamlet, iv. 5 or 2 ; plate, with gold, King Lear, iv. 6; 
one, provokes another, Pericles, i. 1 ; Cymbeline, i. 7, " The cloyed 
will," etc.; hidden in majesty, Lucrece, I. 93; with opportunity, Lu- 
crece, I. 878; suffering for others', Lucrece, I. 1478 ; in the lovely, 
Sonnets xciv.-xcvi. ; some, do bear their privilege, King John, i. 1 ; 
the oldest, committed the newest way, II. Henry J V., iv. 4 ,' may be 
absolved in English, Henry VIII, Hi. 1. 

Since brass, nor stone, nor earth, nor boundless sea, Son- 
net Ixv. 

Since I left you mine eye is in my mind, Sonnet cxiii. 

Sincerity, in love, Henry V., v. 2 ; of Coriolanus, Coriolanus, 
Hi. 1, "He would not flatter Neptune for his trident." etc.; folly 
of, Othello, i. 1, " But I will wear my heart upon my sleeve," etc. ; 
in speech, A Winter's Tale, i. 1. 

Sincklo, a name sometimes given to the first player in the in- 



328 INDEX TO SHAKSPERE'S WORKS. 

duction to the Taming of the Shrew, and also to one of the hunts- 
men in III. Henry VI. It is thought to have been the name of an 
actor in Shakspere's company ; but " Giles Senclowe is mentioned in 
the ' Paston Letters ' as having been in Scotland with Queen Mar- 
garet," 

Sinel (correctly, Finel or Finlay), Thane of Glamis, father of 
Macbeth, Macbeth, i. 3. 

Singing, ridicule of Balthazar's, Much Ado about Nothing, ii. 
3; Perdita's, A Winter's Tale, iv. 3 or 4> of Lady Mortimer, I. 
Henry IV., Hi. 1 ; of the nightingale and wren, Merchant of Venice, 
v. 1 ; of Edmund, King Lear, i. 2 ; sing the savageness out of a 
bear, Othello, iv. 1 /the singing-man of Windsor, II Henry IV., ii. 1. 

Sink-a-pace (cinque-pas), a dance whose measures are in fives, 
Twelfth Night, i. 3. 

Sinners, at the gate of hell, Macbeth, ii. 3. 

Sinning, more sinned against than, King Lear, Hi. 2. 

Sin of self-love possesseth all mine eye, Sonnet Ixii. 

Sinon, III. Henry VI, Hi. 2 ; Cymbeline, Hi. 4,' in a painting, 
Lucrece, lines 1521, 1529. The Greek who, pretending to desert to 
the Trojans, persuaded them to admit the wooden horse. 

Sir. This title was applied to curates, as Sir Nathaniel, Sir 
Hugh Evans, Sir Oliver Martext, Sir Topas, said to have properly 
belonged to such ecclesiastics as had taken the degree of bachelor of 
arts, or dominus. 

Sirrah, generally used to an inferior, but Poins uses it to the 
prince in i". Henry IV., i. 2. 

Sir-reverence (saving your reverence), Comedy of Errors, Hi. 2. 

Sisters, the weird. See Witches. , 

Sit (live, board), at ten pounds a week, Merry Wives of Windsor, 
i.3. 

Sith, sithence (since), Measure for Measure, iv. 1 ; AIVs Well 
that Ends Well, i. 3 ; King Lear, i. 1, and elsewhere. 

Siward, Earl of Northumberland and general of the English 
forces that fight against Macbeth. He was the brother of Duncan's 
wife. His son Osberne is called in the play young Siward. They 
appear in v. 4, and young Siward is killed by Macbeth in v. 7. This 
famous earl was reported by tradition the descendant of a bear. He 
fought with Hardicanute and against Godwin on the side of the 
Confessor. It is said that when he came to die he said to his at- 
tendants : " Lift me up, that I may die standing like a soldier, and 
not grovelling like a cow. Put on my coat of mail ; cover my head 



INDEX TO SHAKSPERE'S WORKS. 329 

with my helmet, put my buckler on my left arm, and my gilded axe 
in my right hand, that I may expire in arms/' 

Sixpenny strikers, 1. Henry IV, ii. 1. Bullies who would 
knock a man down for sixpence. 

Sizes (allowances of money), King Lear, ii. 4. 

Skains-mates (companion scapegraces, originally brothers-in- 
arms), Romeo and Juliet, ii. 4. 

Skill, in contrast with ignorance, Hamlet, v. 2. 

Skills (signifies), Taming of the Shrew, in. 2 ; Twelfth Night, 
v. 1; 11. Henry VI., Hi. 1. 

Skin, silver, laced with golden blood, Macbeth, ii. 3. 

Skin-coat, your, King John, ii. 1. See Hide. 

Skogan. See Scogan. 

Skull(s), Romeo and Juliet, iv. 1; v. 3; moralizing on a, Hamlet, v. 1. 

Slab (glutinous), Macbeth, iv. 1. 

Slander, will stain any name, Comedy of Errors, ii. 1 ; is for- 
ever housed when it gets possession — avoid occasion for, Comedy of 
Errors, Hi. 1; power of, Much Ado about Nothing, Hi. 1; on Hero, 
Much Ado about Nothing, Hi. 2, 3 ; v. 1, 4 ; changed to remorse, 
Much Ado about Nothing, iv. 1 ; on Diana, All's Well that Ends 
Well, v. 3 ; none in an allowed fool, Twelfth Night, i. 5 ; venomed 
spear of, Richard II, i. 1; poisoned shot of, Hamlet, iv. 1 or Hi. 5 ; 
damned nature of, Othello, Hi. 3, " If thou dost slander," etc. ; to 
get office, Othello, iv. 2 ; sly, Cymbeline, i. 6 ; sharpness of, Cymbe- 
line, Hi. 4 ; mark of, Sonnet Ixx. ; the sting of, A Winter's Tale, ii. 
3 ; a coiner of, Troilus and Cressida, i. 3. See also Calumny. 

Slanderers, imprecation on, Othello, iv. 2, "A halter pardon 
him," etc. ; condemn themselves, Sonnet cxxi. ; base newsmongers, 
I. Henry IV., Hi. 2. 

Slang. See Red-Lattice Phrases. 

Slave(s), that pays, Henry V, ii. 1; bred a dog, Timon of 
Athens, iv. 3 ; mechanics, Antony and Cleopatra, v. 2 ; trusted with 
a muzzle and enfranchised with a clog, Much Ado about Nothing, 
i. 3 ; Shylock on the state of a, Merchant of Venice, iv. 1. 

Sleave of care, the, Macbeth, ii. 2. Sleave is silk thread. 

Sleep, seldom visits sorrow, The Tempest, ii. 1; life rounded 
with a, The Tempest iv. 1 : an after-dinner, Measure for Measure, 
Hi. 1; of the traveller, Measure for Measure, iv. 2 ; shuts sorrow's 
eye, Midsummer- Nights Dream, Hi. 2 ; the image of death — trick 
played upon Sly in, Taming of the Shrew, induction, 1 ; see also 
Lord; to the great and the lowly, 77. Henry IV., Hi. 1 ; dwell upon 



330 INDEX TO SHAKSPERE'S WORKS, 

thine eyes, Romeo and Juliet, ii. 2 ; of the young, Romeo and Juliet, 
ii. 3 ; Troilus and Cressida, iv. 2 ; untroubled, Julius Cazsar, ii. 1 ; 
murdered, Macbeth, ii. 2 ; season of all natures, Macbeth, in. 4; 
secrets uttered in, Macbeth, v. 1 ; Othello, Hi. 3 ; of the weary, Cym- 
beline, Hi. 6 ; life and death in, Lucrece, I. 402 ; the ape of death, 
Cymbeline, ii. 2. 

Sleeve, a pledge of love, Troilus and Cressida, iv. 4; v. 2-4. 

Sleeve-hand (cuff), A Winter's Tale, iv. 3 or 4. 

Sleided (un wrought) silk, Pericles, iv., prologue. 

Slender, Abraham, an awkward country fellow in the Merry 
Wives of Windsor, and a suitor to Anne Page, introduced in the 
first scene. 

" Slender and Sir Andrew Aguecheek are fools troubled with an 
uneasy consciousness of their folly, which in the latter produces a 
most edifying meekness and docility, and in the former awkward- 
ness, obstinacy, and confusion." — Macaulay. 

Slenderness, hyperboles on, I. Henry IV., ii. 4 ; " Away, you 
starveling," etc. ; " My own knee," etc., II. Henry IV., Hi. 2, 4. See 
Leanness. 

'Slid (by God's lid), Merry Wives of Windsor, Hi. 4> 

'Slight (by his light), Twelfth Night, ii. 5. and elsewhere. 

Slighted (pitched), Merry Wives of Windsor, Hi. 5. 

Slip (a false coin), Romeo and Juliet, ii. 4; quibble on the word, 
Troilus and Cressida, ii. 3, "If I could have remembered a gilt 
counterfeit, thou wouldst not have slipped out of my contempla- 
tion/' 

Slops (large boulstered trousers), Much Ado about Nothing, Hi. 
2 ; Romeo and Juliet, ii. 4 / Henry 1 V., i. 2. 

Sloth, betrays to loss, I. Henry IV., iv. 3 ; sleep of, Cymbeline, 
Hi. 6. 

Slovenliness, punishment of, by fairies, Merry Wives of Wind- 
sor, v. 5. 

Slubber (slight), Merchant of Venice, ii. 8. 

Slubber (soil), Othello, i. 3. 

Sly, Christopher, a tinker, chief character in the induction to the 
Taming of the Shrew. A lord who finds him dead-drunk has him 
carried to his house and waited on when he awakes as if he were the 
proprietor of the place. 

" Sly is of the family of Sancho Panza, gross and materialistic in 
his tastes and habits, but withal so good-humoured and self-con- 
tented, that we would fain leave him unvexed by higher ideas or 



INDEX TO SHAKSPERE'S WORKS. 331 

aspirations ; all the pains taken to delude him into the notion that 
he is a lord will not make him essentially other than ' Old Sly's son, 
of Burton* Heath,' who has run up so long a score with the fat ale- 
wife of Wincot." — Dowden. 

Small-pox, allusion to marks of, Love's Labour's Lost, v. 2, 
" Face full of V 

Smalus, A Winter's Tale, v. 1. Apparently a prince of Libya. 

Smatch (smack, tincture ), Julius Caisar, v. 5 ; II. Henry IV., i. 2. 

Smell(s), an ancient and fish-like, The Tempest, ii. 2 ; villainous, 
Merry Wives of Windsor, Hi. 5. 

Smile, Jane, mentioned in As You Like It, ii. 4. 

Smiles, the craft of, Richard II, i. 4 / of Cassius, Julius Caisar, 
i. 2 ; of Imogen, Cymbeline, iv. 2 ; when time shall serve, Henry V., 
ii. 1; and tears, King Lear, iv. 3 ; king of, I. Henry IV., i. 3. 

Smiling, with millions of mischief in the heart, Julius Caisar, 
iv. 1 ; one's cheek into years, Love's Labour's Lost, v. 2 ; smile and 
murder while they smile, III. Henry VI., Hi. 2; and be a villain, 
Hamlet, i. 5 ; as the wind sits, King Lear, i. 4- 

Smith, the weaver, a follower of Jack Cade in II. Henry VI. 

Smithneld, now a part of London, scene of II. Henry IV., 
iv. 7. 

Smoked (discovered or suspected), All's Well that Ends Well, 
Hi. 6 ; iv. L 

Smulkin, a fiend, King Lear, Hi. 4. See Mahu. 

Snail, the, Comedy of Errors, ii. 2 ; As You Like It, iv. 1 ; King 
Lear, i. 5 ; Venus and Adonis, I. 1033. 

Snake, the, Midsummer- Night's Dream, ii. 2 ; As You Like It, 
iv. 3 ; scotched the, Macbeth, Hi. 2 ; warmed the, III. Henry VI, 
Hi. 1. See Adder and Serpent. 

Snare, taken in his own, Twelfth Night, v. 1, " That thine own 
trip shall be thine overthrow." 

Snare, one of the sheriffs officers in II. Henry IV., ii. 1. 

Sneak-cup, a, I. Henry IV., Hi. 3. One who baulks his glass. 

Sneap (rebuke, snub), II. Henry IV., ii. 1. 

Sneaping (pinching, nipping), Love's Labour's Lost, i. 1; A 
Winter's Tale, i. 2, 

Sneck up (perhaps from "his neck up," that is, be hanged), 
Twelfth Night, ii. 3. 

Snout, Tom, a tinker, character in Midsummer-Night's Dream, 
introduced in i. 2. He is cast for the part of Pyramus's father, but 
appears in the play as the wall. 
29 ' 



332 INDEX TO SHAKSPERE'S WORKS. 

Snow, a mockery king of, Richard II, iv. 1; consecrated, on 
Dian's lap, Timon of Athens, iv. 3 ; of Taurus, Midsummer-Night's 
Dream, v. 2 ; a little, tumbled about, becomes a mountain, King 
John, Hi. 4 ; in harvest, Richard HI., i. 4. 

Snuff, took it in, I. Henry IV., i. 3. Snuff was made of aromatic 
substance before tobacco was used for it. Here there is a quibble on 
the cant use of the phrase. 

Snug, a joiner, character in Midsummer-Night 's Dream, intro- 
duced in i. 2. In the play before the duke he takes the part of the 
lion, and explains who he is, that the ladies may not be frightened 
— " a very gentle beast and of a good conscience." 

So am I as the rich, Sonnet Ui. 

So are you to my thoughts as food to life, Sonnet Ixxv. 

Society, no comfort to one not sociable, Cymbeline, iv. 2. 

Softly-sprighted man, a, Merry Wives of Windsor, i. 4. 

So is it not with me as with that muse, Sonnet xxi. 

Sol, the glorious planet, like a king, Troilus and Cressida, i. 3. 

Solanio. See Salanio. 

Soldier(s), of Pharaoh, Much Ado about Nothing, Hi. 3 ; base 
for, to love, Love's Labour's Lost, i. 2 ; full of strange oaths, As You 
Like It, ii. 7 ; jests at a cowardly, Alt's Well that Ends Well, i. 1, 
" Under Mars," etc. ; honour of a, AWs Well that Ends Well, ii. 1 ; 
would have been a, but for those vile guns, 7. Henry IV., i. 3; Hot- 
spur and his comrades, I Henry IV., iv. 1; Falstaff's, 7. Henry IV., 
iv. 2 ; a braggart, Henry V., Hi. 6 ; speaks like a, Coriolanus, Hi. 3 ; 
not appreciated in peace, Coriolanus, iv. 7 ; dreams of a, Romeo and 
Juliet, i. 4 ; a better, Julius Caisar, iv. 3 ; a daring, Macbeth, Hi. 1 ; 
death of a, Macbeth, v. 7 ; King John, v. 5 ; III. Henry VI, ii. 3 ; 
your sister is the better, King Lear, iv. 5 ; little blessed with soft 
phrase — adventures of a, Othello, i. 3 ; one fit to stand by Caesar — 
life of, Othello, ii. 3 ; endurance of a, Antony and Cleopatra, i. 4 ,' 
should brook wrongs as little as gods, Timon of Athens, Hi. 5 ; a 
brave, 7. Henry VI, Hi. 2 ; unapt to weep, 7. Henry VI, v. 3 ; a 
true, hath no self-love, 77. Henry VI, v. 2. 

Soldiers, introduced on the stage in All's Well that Ends Well, 
King John, Henry V., I Henry VI, III. Henry VI, Richard III, 
Coriolanus, Titus Andronicus, King Lear, Antony and Cleopatra, 
Cymbeline, Macbeth. 

Soldiership, theoretical, Othello, i. 1. 

Soliloquies, Hamlet, i. 2 ; ii. 2 ; Hi. 1; iv. 4; King Lear, i.2 ; 
ii. 3 ; Hi. 7 ; iv. 1; v. 2 ; Othello, i. 3 ; Hi. 3 ; v. 2 ; Macbeth, i. 5, 7 ; 



INDEX TO SHAKSPERE'S WORKS. 333 

ii. 1, 3 ; Hi. 1; Richard III., i. 1, 2 ; Troilus and Cressida, ii. 3 ; 
v. 10; Romeo and Juliet, ii. 3, 5 ; Hi. 2 ; iv. 3 ; v. 1; Timon of 
Athens, iv. 1, 3 ; Julius Cmsar, Hi. 1 ; Cymbeline, ii. 2, 5 ; Hi, 2, 3, 
6; iv. 1, 2 ; v. 1; Pericles, i. 1, 2. 

Solinus, Duke of Ephesus, character in the Comedy of Errors, 
introduced in i. 1. 

Solitude, Two Gentlemen of Verona, v. 4. 

Solomon, Love's Labour's Lost, i. 2 ; iv. 3. 

Solon (about 638-559 b. c), laws of, on a father's rights, Mid- 
summer-Night's Dream, i. 1. 

Solon's happiness, Titus Andronicus, i. 1 or 2. " No man can 
be pronounced happy till he is dead." 

Solyman, Sultan (about 1495-1566), Merchant of Venice, ii. 1. 

Some glory in their birth, some in their skill, Sonnet xci. 

Somerset, John Beaufort, third Earl of, afterward first Duke, 
character in I. Henry VI. In ii. 4 he calls for allegiance to the red 
rose of Lancaster. The Somerset of the second part is his brother. 
His daughter, Margaret Beaufort, became Countess of Richmond 
and mother of Henry VII. 

Somerset, Edmund Beaufort, fourth Earl of, afterward second 
Duke, character in II. Henry VI. He was for some time chief of 
the king's party, and was accused by the Duke of York of various 
offences against the country, was arrested and imprisoned, but was 
afterward restored to office. He held the offices of Regent of France 
and Constable of England. He was slain at St. Alban's— II. Henry 
VI, v. 2 — and is said in the first scene of the third part to have 
fallen by the hand of Richard, afterward King Richard III. His 
son, Henry, who succeeded him, was taken prisoner at Hexham and 
beheaded by the Yorkists. His second son, Edmund, became the 
fourth duke, and is the Somerset of the third part, 

Somerset, Edmund Beaufort, fourth Duke of, character in III. 
Henry VI, introduced in iv. 1. He commanded a force at Barnet, 
v. 2, and at Tewksbury, v. 4, where he was taken prisoner, v. 5. He 
was beheaded two days later, the last of the male line of the Beau- 
forts. He was a son of the Beaufort of the second part. 

Somerville, Sir John, character in III. Henry VI, introduced 
in v. 1, a partisan of York. 

Some say thy fault is youth, Sonnet xcvi. 

Somnambulism, Macbeth, v. 1. 

Son(s), the king envies Northumberland his, I. Henry IV., i. 1; 
his grief over his own, Richard II, v. 3 ; I. Henry IV., i. 1; Hi, 2; 



334 INDEX TO SIIAKSPERE'S WORKS. 

iv. 4, 5 ; devoted to their country, Coriolanus, i. 3 ; dead in honour, 
Titus Andronicus, Hi. 1. 

Song(s), old, Twelfth Night, ii. 4 / Pericles, i., chorus ; Othello, 
iv. 3; soothing, I. Henry IV., Hi. 1; an exquisite, Othello, ii. 3 ; 
popular, A Winter's Tale, iv. 3. See also Music and Singing. 

Songs : Come unto these yellow sands : The Tempest, i. 2 ; Full 
fadom five, The Tempest, i. 2 ; While you here do snoring lie, The 
Tempest, ii. 1 ; Where the bee sucks, The Tempest, v. 1 ; The mas- 
ter, the swabber, The Tempest, ii. 2 ; Farewell, master, The Tem- 
pest, ii. 2 ; Flout 'em and scout 'em, The Tempest, Hi. 2 ; Honour, 
riches, marriage blessing, 1 he Tempest, iv. 1 ; Who is Silvia ? Two 
Gentlemen of Verona, iv. 2 ; To shallow rivers (by Marlowe), Merry 
Wives of Windsor, Hi. 1 ; Whenas I sat in Babylon, Merry Wives 
of Windsor, in. 1 ; Fortune, my foe (old song, alluded to), Merry 
Wives of Windsor, Hi. 3 ; Fie on sinful fantasy, Merry Wives of 
Windsor, v. 5 ; Take, oh, take those lips away (authorship uncertain), 
Measure for Measure, iv. 1 ; Sigh no more, Much Ado about Nothing, 
ii. 3; The god of love, Much Ado about Nothing, v. 2 ; Pardon, 
goddess of the night, Much Ado about Nothing, v. 3 ; On a day, 
alack the day, Love's Labour's Lost, iv. 3 ; When daisies pied and 
violets blue, Love's Labour's Lost, v. 2 ; When icicles hang by the 
wall, Love's Labour's Lost, v. 2 ; You spotted snakes, Midsummer- 
Night's Dream, ii. 2 ; The ousel cock, so black of hue, Midsummer- 
Night's Dream, Hi. 1 ; Now, until the break of day, Midsummer- 
Night's Dream,, v. 1 ; If we shadows have offended, Midsummer- 
Night's Dream, v. 1 ; Tell me, where is fancy bred ? Merchant of 
Venice, Hi. 2 ; Under the greenwood tree, As You Like It, ii. 5 ; 
Blow, blow, thou winter wind, As You Like It, ii. 7; O sweet Oli- 
ver (fragment of an old ballad), As You Like It, Hi. 1 ; What shall 
he have that killed the deer? As You Like It, iv. 2 ; It was a lover 
and his lass, As You Like It, v. 3 ; Then is there mirth in heaven, 
As You Like It, v. 4; Wedding is great Juno's crown, As You Like 
It, v. 4; Fire, fire, cast on water— Jack, boy! ho! boy!— Where is 
the life that late I led— It was the friar of orders gray, Taming of 
the Shrew, iv. 1; Was this fair face the cause, All's Well that Ends 
Well, i. 3; O mistress mine, where are you roaming? Twelfth Night, 
ii. 3 (not by Shakspere) ; snatches of old popular, Twelfth Night, ii. 
3; Hold thy peace— Three merry men— There dwelt a man in Baby- 
lon— 0, the twelfth day of December— Farewell, dear heart— His 
eyes do show— Shall 1 bid him go? (the last three are from Corydon's 
Farewell to Phyllis)— Come away, come away, Death, Twelfth Night, 



INDEX TO SHAKSPERE 'S WORKS. 335 

ii. 4 ; Hey, Robin, Twelfth Night, iv. 2 (not by Shakspere) ; I am 
gone, sir, Twelfth Night, iv. 2 ; When that I was a little, tiny boy, 
Twelfth Night, v. 1 (not by Shakspere) ; When daffodils begin to 
peer, A Winter's Tale, iv. 2 or 3 ; But shall I go mourn, A Winter's 
Tale, iv. 2 or 3 ; Jog on, jog on, A Winter's Tale, iv. 2 or 3 ; Lawn 
as white as driven snow, A Winter's Tale, iv. 3 or 4 >' Get you hence, 
A Winter's Tale, iv. 3 or 4 ; Will you buy any tape % A Winter's 
Tale, iv. 3 or 4,' Do nothing but eat, II. Henry IV., v. 3 ; Be merry, 
be merry, II. Henry IV., v. 3 ; A cup of wine, II. Henry IV., v. 3 ; 
Fill the cup, II. Henry IV., v. 3 ; Do me right, II. Henry IV., v. 
3 ; Auld Robin Hood, II. Henry IV., v. 3 ; Orpheus with his lute, 
Henry VIII, Hi. 1 ; Love, love, nothing but love, Troilus and Cres- 
sida, Hi. 1 ; An old hare hoar, Romeo and Juliet, ii. 4 ; When grip- 
ing grief, Romeo and Juliet, iv. 5 (by Richard Edwards) ; of the 
witches, Macbeth, Hi. 5, the song, " Come away," from Middleton's 
"Witch" is used; To-morrow is St. Valentine's day, Hamlet, iv. 5 
or 2 ; They bore him barefaced on the bier, Hamlet, iv. 5 or 2 ; And 
will he not come again, Hamlet, iv. 5 or 2 ; For bonny sweet Robin, 
Hamlet, iv., 5 or 2 ; How should I your true love, Hamlet, iv. 5 or 2 ; 
In youth when I did love, Hamlet, v. 2 (from a ballad attributed to 
Lord Vaux) ; Fools had ne'er less wit in a year, King Lear, i. 1 ; 
He that has, and a little, tiny wit, King Lear, Hi. 2 ; Let the cana- 
kin clink, Othello, ii. 3 ; King Stephen was, Othello, ii. 3 ; The poor 
fool sat, Othello, iv. 3 ; Come, thou monarch of the vine, Antony and 
Cleopatra, ii. 7 ; Hark, hark, the lark, Cymbeline, ii. 3 ; Fear no 
more the heat, Cymbeline, iv. 2. Have I caught my heavenly jewel ? 
(by Sir Philip Sidney), Merry Wives of Windsor, Hi. 3. 

Songs and Sonnets, Book of, Merry Wives of Windsor, i. 1. 
A popular book of the time, by the Earl of Surrey and others. 

Sonnets, the, one hundred and fifty-four in number, were first 
published in 1609, in a small quarto, including also the Lover's Com- 
plaint, by Thomas Thorpe, who probably pirated them. They were 
alluded to in 1598 by Meres as " sugred sonnets " circulated among 
Shakspere's private friends. Two of them were published in the 
Passionate Pilgrim (q. v.). The time of writing may have extended 
over several years, and probably did. They are dedicated to W. 
H., but to whom these initials belonged is still a mystery. William 
Herbert, Earl of Pembroke, has been named, the first folio having 
been dedicated to him and his brother. Some have supposed the 
initials to be those of the Earl of Southampton (q. v.) reversed. The 
first one hundred and twenty-six are addressed to a man much 



INDEX TO SHAKSPERE' S WORKS. 

younger than the writer and deeply beloved by him. The remain- 
ing ones, excepting the last two, are addressed to a woman, dark- 
complexioned, and not at all fair, or, it would seem, virtuous either, 
who has been trifling with the writer and the friend to whom the 
former sonnets are addressed. It is generally supposed that they 
are the record of actual experiences of the poet, though it is possible 
that they are dramatic and ideal. On this point Mr. Halliwell- 
Phillips says : 

" The words of Meres " [" his sugared sonnets among his private 
friends"] "and the insignificant results of Jaggard's efforts" [to 
make a collection of Shakspere's poems, in which he was able to in- 
clude only two of the sonnets], "lead to the inference that these 
strange poems were an assemblage of separate contributions made 
by their writer to the albums of his friends, no two of the latter 
being favoured with identical compositions. There was no tradition 
adverse to a belief in their fragmentary character in the generation 
immediately following the author's death, as may be gathered from 
the arrangement found in Benson's edition of 1640 ; and this con- 
cludes the little real evidence on the subject that has descended to 
us. It was reserved for the students of the present century, who 
have ascertained so much respecting Shakspere that was unsuspected 
by his own friends and contemporaries, to discover that his inner- 
most earnest thoughts, his mental conflicts, and so on, are revealed 
in what would then be the most powerful lyrics yet given to the 
world. But the victim of spiritual emotions that involve crimina- 
tory reflections, does not usually protrude them voluntarily on the 
consideration of society; and, if the personal theory be accepted, we 
must concede the possibility of our national dramatist gratuitously 
confessing his sins and revealing those of others, proclaiming his 
disgrace and avowing his repentance, in poetical circulars distributed 
by the delinquent himself among his most intimate friends. There 
are no external testimonies of any description in favor of a personal 
application of the sonnets, while there are abundant difficulties aris- 
ing from the reception of such a theory. Among the latter is one 
deserving of special notice, for its investigation will tend to remove 
the displeasing interpretation all but universally given of two of the 
poems — those in which reference is supposed to be made to a bitter 
feeling of personal degradation allowed by Shakspere to result from 
his connection with the stage. Is it conceivable that a man who 
encouraged a sentiment of this nature, one which must have been 
accompanied with a distaste and contempt for his profession, would 
have remained an actor years and years after any real necessity for 
such a course had expired ? . . . When, in addition to this volun- 
tary long continuance on the boards, we bear in mind the vivid in- 
terest in the stage, and in the purity of the acted drama, which is 
exhibited in the well-known dialogue in Hamlet, and that the poet's 
last wishes included affectionate recollections of three of his fellow- 
players, it is difficult to believe that he could have nourished a real 
antipathy to his lower vocation. It is, on the contrary, to be in- 



INDEX TO SHAKSPERE'S WORKS. 337 

ferred that, however greatly he may have deplored the unfortunate 
estimation in which the stage was held by the immense majority of 
his countrymen, he himself entertained a love for it that was too 
sincere to be repressed by contemporary disdain." 

Sonnets to Sundry Notes of Music, title of the latter part of 
the Passionate Pilgrim. 

So now I have confessed that he is thine, Sonnet cxxxiv. 

Sonties (saints or sanctities), Merchant of Venice, ii. 2. 

So oft have I invoked thee for my muse, Sonnet Ixxviii. 

Soon at night (very soon), Measure for Measure, i. 5 ; Comedy 
of Errors, i. 2. 

Soothsayer, a, character in Julius Cmsar, appears in i. 2, 
where he warns Caesar to beware the Ides of March, and in later 
scenes. 

Soothsayer, a, character in Antony and Cleopatra, introduced 
in i. 2 ; prophesies to Antony, ii. 3. 

Soothsayer, a, character in Cymbeline, introduced in iv. 2, 
where he speaks once only, and foretells success to the Romans ; 
he appears again as a prisoner in v. 5, where he interprets an oracle 
for Cymbeline. 

Sophistry, in self-justification, Julius Cozsar, ii. 1. 

Sophy (Shah), the, Merchant of Venice, ii. 1 ; Twelfth Night, 
ii. 5 ; Hi. 4> 

Soporifics, Othello, Hi. 3, " Not poppy nor mandragora," etc. 

Sorcerers, Ephesus full of, Comedy of Errors, i. 2. 

Sorcery, The Tempest, Hi. 2, see Magic ; II. Henry VI, i. 4- 

Sorrow, patience under, Much Ado about Nothing, v. 1 ; here I 
and, sit, King John, Hi. 1 ; canker, King John, Hi. 4; of the queen, 
Richard II, Hi. 4 ; of the king, Richard II, iv. 1 ; for the dead 
king, II. Henry IV., v. 2 ; breaks seasons, Richard III, i. 4,' for 
the dead, Richard III, iv. 4 ; a golden, Henry VIII, ii. 3 ; con- 
cealed, Titus Andronicus, ii. 4 or 5 ; more in, than anger, Hamlet, 
i.2 ; each must bear his own, Hamlet, Hi. 2, " Why let the stricken," 
etc. ; a rarity most beloved. King Lear, iv. 3 ; heavenly, Othello, v. 
2 ; odd tricks of, Antony and Cleopatra, iv. 2 ; doubled by sight of 
unattainable relief, Lucrece, 1. 1114. See Grief, Pain, Mourning. 

Sorrows, come not singly, Hamlet, iv. 5 or 2, 7 ; Pericles, i. 4- 

Sort (set), Richard II, iv. 1 ; Richard III, v. 3. 

Sort and suit (rank and following), men of, Measure for 
Measure, iv. 4. 

So shall I live supposing thou art true, Sonnet xciii. 



338 INDEX TO SHAKSPERE'S WORKS. 

Sossius, Antony and Cleopatra, Hi. 1. 

Sot (fool), Merry Wives of Windsor, Hi. 1 ; Twelfth Night, i. 5. 

Soto, Taming of the Shrew, induction, 1. A character in " Wo- 
man Pleased," by Beaumont and Fletcher. 

Soul(s), give up the body rather than the, Measure for Measure, 
ii. 4. ; an evil, producing holy witness, Merchant of Venice, i. 3 ; the 
clothes the, AIVs Well that Ends Well, ii. 5 ; disputes with sense, 
Twelfth Night, iv. 3 ; the brain the dwelling of the, King John, v. 
7 ; burden of a guilty, Richard II., i. 3 ; future of the, Richard II., 
Hi. 1 ; sold to the devil, I. Henry IV., i. 2; grows with the body, 
Hamlet, i. 3 ; invulnerable, Hamlet, i. J+ ; prophetic, Hamlet, i. 5 ; 
in bliss, thou art a, King Lear, iv. 7 ; spotted, Lucrece, I. 719 ; in a 
dishonoured body, Lucrece, I. 1169 ; a true, Sonnet cxxv. ; its fading 
mansion, Sonnet cxlvi. ; all, were forfeit once, Measure for Measure, 
ii. 2 ; punishment of departed, Measure for Measure, iii. 1, " Ay, 
but to die," etc. ; Othello, v. 2, " Blow me about in winds," etc. ; har- 
mony in immortal, Merchant of Venice, v. 1 ; if, fly in the air, and 
be not fixed, Richard III., iv. 4- See Transmigration of Souls. 

Sound and fury, life full of, Macbeth, v. 5. 

Sources : Few of the plots of the plays were invented by Shak- 
spere, possibly none, though there are some for which no originals 
have been found. Many of the stories are very old, and had ap- 
peared in several versions and languages ; many were already famil- 
iar to English audiences of that day. They were, for the most part, 
bald narrations of incidents, dull plays, or simple ballads. Under 
the name of each play will be found mention of the principal source 
or sources drawn upon. Below is given an alphabetical list of them 
under the names of authors, or, in cases where the author's name is 
not known of the novel, play, or story : 

Ariosto. The story of Ariodanto and Genevra, from his " Or- 
lando Furioso," which was known in an English translation by Sir 
John Harington (1591), resembles that of Hero in Much Ado about 
Nothing. The "Search for the Island of Lampedusa," from the 
same work, has a description of a storm at sea, which has been lik- 
ened to that in The Tempest. 

"Barlaam and Josephat," is a middle-age Greek romance of 
about a. d. 800, in which appeared the story of the caskets {Mer- 
chant of Venice) for the first time, so far as is known. 

Bale, Bishop. " The Pageant of Kynge John," by Bishop Bale, 
was written about 1550. See below " Troublesome Raigne of King 
John." 



INDEX TO SHAKSPERE'S WORKS. 339 

Bandello. Twelfth Night is supposed to be founded mediately 
or immediately on his novel "Nicuola," the original of " Apollonius 
and Silla." See Rich. His story of " S. Timbreo di Cardona " has 
some features and names in common with Much Ado about Nothing. 
See also Belleforest, Brooke, Painter, and Da Porto. 

Barckley, Sir Richard. His " Felicity of Man " (1598) has an 
" Account of Timon." 

Belleforest published "Histoires Tragiques," translations, in 
which was the " Hystorie of Hamblet," from Bandello. 

Boccaccio. The story of the wager in Cymbeline is found in 
that of " Bernabo da Genova," and AIVs Well that Ends Well is 
drawn from his story of " Giglietta di Nerbona." 

Brooke, or Broke, Arthur, is the supposed author of the poem 
" Romeus and Juliet," after Bandello. 

Caxton, " Recuyell of the Historyes of Troye " (circa, 1476), was 
consulted, perhaps, for Troilus and Cressida. 

Chaucer, Geoffrey. His " Troylus and Cryseyde " may have 
been referred to by Shakspere in writing his drama. 

Chettle. See Wolsey, below. 

Cinthio, Giraldi. His " Hecatommithi " has a story of a Moorish 
captain that seems to be a version of the one on which Othello is 
founded. See Whetstone. 

Da Porto Luigi, published in 1535 an Italian novel telling the 
story of Romeo and Juliet for the first time, so far as is known, 
and the story was retold by Bandello in 1554. 

"Famous Victories of Henry V., the, containing the Hon- 
ourable Battell of Agincourt," a play written between 1580 and 
1588, furnished the outlines of the two parts of Henry IV. and 
Henry V. 

Fiorentino, Giovanni, or S. Giovanni, of Florence. The inci- 
dent of the buck-basket in the Merry Wives of Windsor is in his 
" II Pecorone," as well as the circumstance of taking the husband 
into confidence. " II Pecorone " also has the story of the bond used 
in the Merchant of Venice. 

Fox, John. His " Book of Martyrs " (1563) contains a passage 
that was probably before the writer of the first scene of the fifth act 
of Henry VIII. 

Geoffrey of Monmouth, who wrote in the twelfth century, told 
the story of Lear and his three daughters. 

" Gernutus, the Jew," is the name of an old ballad giving the 
story of the bond that is used in the Merchant of Venice. 



340 INDEX TO SHAKSPERE 'S WORKS. 

" Gesta Romanorum " is an old collection of stories in which the 
story of the caskets used in the Merchant of Venice and the history 
of King Lear are related. 

" Gl' Ingannati " (" The Deceived "), an Italian play by an un- 
known author, strongly resembles Twelfth Night. 

Goulart's "Admirable and Memorable Histories" contains 
stories resembling those of the Comedy of Errors and Measure for 
Measure. It also gives the story of a trick played on an artisan by 
Philip the Good, Duke of Burgundy, evidently the original of the 
plot of the induction to the Taming of the Shrew. 

Gower, John : Apollonius of Tyre, from his " Confessio Amantis," 
forms the basis of Pericles, in which Gower is introduced as the 
chorus. There was a version of the story in Laurence Twyne's 
" Patterne of Painefull Adventures " (1576). 

Greene, Robert. His " Pandosto : The Triumph of Time " 
(1588), afterward called " The History of Dorastus and Fawnia," fur- 
nished the material for A Winter's Tale. He is also the supposed 
author of the old play " Taming of a Shrew." In one of his works 
he refers to Shakspere as " an upstart crow beautified with our feath- 
ers — in his own conceit the only shake-scene in the country." 

Hall, Edward, an early historian whose chronicles were proba- 
bly consulted. He wrote of the " Union of the two noble and illus- 
trate families of Lancastre and York " (1548). 

Harington. See Ariosto, above. 

Higgins, John, author of " How Queen Cordila in despair slew 
herself, the year before Christ 800," printed in " The Mirror for 
Magistrates " (1587), and perhaps referred to for King Lear. 

Holinshed, Raphael, wrote " Chronicles of Englande, Scotlande, 
and Irelande " (1577), which were largely drawn upon by Shakspere 
in the English historical plays, and in Cymbeline, Macbeth, and 
King Lear. 

Lodge, Thomas, a dramatist and novelist, was the author of 
"Rosalynde: Euphues' Golden Legacie " (1592), which furnished 
the plot of As You Like It. 

Lucian, a Greek satirical writer, tells the story of Timon of 
Athens, and was one of Shakspere's authorities. 

Lydgate, " Historye, Sege, and Dystruccion of Troye " (1513). 

Monstrelet, Enguerrand de, a French chronicler, 1390-1453 : 
his account of the negotiations of Charles, King of Navarre, with 
the King of France for the Duchy of Nemours, may have furnished 
a hint for Love's Labour's Lost. 



INDEX TO SHAKSPERE'S WORKS. 341 

Montaigne, Michel. The ideal commonwealth of Gonzalo in 
The Tempest is from Montaigne, whose works were translated into 
English by Florio in 1603. A copy of this translation, containing 
Shakspere's autograph, now in the British Museum, is the only book 
that is known to have been owned by him. 

Montemayor : his " Diana " contains the story of the " Shep- 
herdess Felismena," from which some part of the plot of Two Gen- 
tlemen of Verona is supposed to have been drawn. The resemblance 
is not close. 

North, Sir Thomas, translated Plutarch's " Lives '" from a French 
version into English (1579), and his works undoubtedly furnished 
Shakspere with materials for Coriolanus, Timon of Athens, Julius 
Caesar, and Antony and Cleopatra. "The Life of Theseus" and 
"The Life of Pericles" also served in the Midsummer-Night'' s 
Dream and in Pericles. 

" Northern Lord." the, a ballad, has the story of the pound of 
flesh, resembling that in the Merchant of Venice. 

Ovid. Prospero's speech to the fairies in The Tempest, v. 1, is 
imitated from Medea's in Ovid, and many expressions in it are 
found in an old translation by Golding (1565-87). 

Painter, William. His " Palace of Pleasure " (1566-'67) has the 
story of " Rhomeo and Julietta," from Bandello, " Giletta of Nar- 
bona," translated from Boccaccio, original of AWs Well that Ends 
Well, and " The Life of Timon." 

Plautus. His " Menoechmi " was translated by W. W. (William 
Warner ?), 1595, and resembles the Comedy of Errors. 

Plutarch. See North. 

Rich, Barnaby, told the story of "Apollonius and Silla," on 
which Twelfth Night is based, in a collection called " Farewell to 
the Militarie Profession " (1581). 

Saxo Grammaticus, author of a " Historia Danica," in which the 
story of Hamlet appeared, wrote about the end of the twelfth cen- 
tury. See Belleforest. 

" Shrewd and Curst Wife Lapped in Morel's Skin, The," is 
an old poem, slightly resembling The Taming of the Shrew, 

Sidney, Sir Philip. His "Arcadia" (1590) has a story, "The 
Paphalgonian Unkind King," resembling that of Gloster and his 
sons in King Lear. 

" Taming of a Shrew, The," is an old play of unknown author- 
ship, on which The Taming of the Shrew was founded. 

" Troublesome Raigne of King John, The," a play by an un- 



342 INDEX TO SHAKSPERE 1 S WORKS. 

known author, intervened between Bishop Bale's drama and that of 
Shakspere, which is thoroughly remodelled from it. 

" True Chronicle History, The, of King Leir and his Three 
Daughters," is an old play, written about 1593. 

Twyne, Laurence. See above, under Gower. 

" Waking Man's Dream, The," is in a fragment of an old book of 
stories conjectured tc be a collection by Richard Edwards, published 
in 1570. In it is a version of the story of " Philip, the Good Duke 
of Burgundy," already referred to under Goulart as the original of 
the plot of the induction to the laming of the Shrew. 

Whetstone, George. His " Promos and Cassandra " (1578) re- 
sembles Measure for Measure. It was founded on a story by Giraldi 
Cinthio, and was first written by Whetstone in a play. 

Wolsey, Cardinal, a drama by Henry Chettle and others (about 
1601), probably furnished some suggestions for King Henry VIII. 

" York and Lancaster, First Part of the Contention between 
the Two Famous Houses of, with the Death of the Good Duke 
Humphrey," etc., and the "True Tragedie of Richard, Duke of 
Yorke," and the " Death of Good King Henrie the Sixt," are the old 
plays on which the second and third parts of Henry VI. are founded. 
It is uncertain whether they were written by Shakspere himself, but 
it is highly improbable that they were, and doubtful whether the 
old plays came from the same hand. 

Souse (to attack violently), King John, v. 2. 

South, the foggy, As You Like It, Hi. 5 ; Cymbeline, ii. 3 ; the 
sweet, Twelfth Night, i. 1; the dew-dropping, Romeo and Juliet, 
1. 4 ; the spongy, Cymbeline, iv. 2. 

Southam, III. Henry VI., v. 1. 

Southampton, a seaport of Hampshire, scene of a part of 
Henry V. 

Southampton, Henry Wriothesly, third Earl of, to whom the 
Venus and Adonis and Lucrece were dedicated, was a favourite of 
Queen Elizabeth until his marriage. He took part in the rebellion 
of Essex, was condemned for high treason, and kept in the Tower 
till the queen's death. He died in 1524. Some suppose that the 
Sonnets are also dedicated to him, his initials being simply reversed. 
For this, see Sonnets. 

South Sea, of discovery, a, As You Like It, Hi. 2. 

South wark, now a part of London, scene of 11. Henry VI. f 
iv.8. 

Southwell, John, or Thomas, a priest in II. Henry VI,, intro- 



INDEX TO SHAKSPERE'S WORKS. 343 

duced in i. 4. He was priest and canon of St. Stephen's in West- 
minster. He died in the Tower before the time for his execution. 

Sowl (pull), Coriolanus, iv. 5. 

Sowter (cobbler), name of a hound, Twelfth Night, ii. 5. 

Spain, Comedy of Errors, Hi. 2 ; Love's Labour's Lost, i. 1. 

Span-counter, II. Henry VI., iv. 2. A game in which the sec- 
ond player won by throwing his counter or coin within a span of that 
of the first. 

Spaniel, love like a, Two Gentlemen of Verona, iv. 2 ; to play 
the, Midsummer- Night's Dream, ii. 2 ; Henry VIII., v. 2 ; Antony 
and Cleopatra, iv. 10. 

Sparrow, Philip, King John, i. 1. The sparrow was called 
Philip because its note was thought to sound like the name ; care of 
Providence for the, As You Like It, ii. 3 ; Hamlet, v. 2. 

Spavins, Taming of the Shrew, Hi. 2 ; Henry VIII., i. 3. 

Speaking, to the purpose, A Winter's Tale, i. 2, " I have spoke ; " 
Perdita's, iv. 3 or 4', is for beggars, Troilus and Cressida, Hi. 3. 

Spectacles, a pair of, Troilus and Cressida, iv. 4. 

Speculation (vision), no, in those eyes, Macbeth, Hi. 4; turns 
not to itself till it hath travelled, Troilus and Cressida, Hi. 3. 

Sped (finished), Taming of the Shrew, v. 2, end. 

Speech, free, Taming of the Shrew, iv. 3 ; too much, AIVs Well 
that Ends Well, i. 1 ; a warlike. King John, ii. 1 or 2 ; daggers in, 
Hamlet, Hi. 2; by the card, Hamlet, v. 1; rude in, Othello, i. 3; 
wild, Troilus and Cressida, i. 3 ; 'tis a kind of good deed to say 
well, and yet words are no deeds, Henry VIII., Hi. 2 ; one excel- 
lently well penned, Twelfth Night, i. 5 ; sweet, A Winter's Tale ; 
Hotspur's, imitated by the valiant, II. Henry IV., ii. 3. 

Speed (success), A Winter's Tale, Hi. 2. 

Speed, the keen-witted servant of Valentine in the Two Gentle- 
men of Verona, introduced in i. 1. 

Spells, I. Henry VI., v. 4; Merry Wives of Windsor, iv. 2 ; 
Antony and Cleopatra, iv. 10. See Charms. 

Spendthrift. See Extravagance. 

Spenser, Passionate Pilgrim, viii. 

Sper (bar), Troilus and Cressida, prologue. 

Spet (old past of spit), Merchant of Venice, i. 3. 

Sphere, to be in too high a, Antony and Cleopatra, ii. 7. 

Spheres, discord in the, As You Like It, ii. 7 ; music from the, 
Twelfth Night, Hi. 1 ; spherical predominance, King Lear, i. 2. See 
Astrology. 

SO 



344 INDEX TO SHAKSPERE'S WORKS. 

Spider(s), the painter plays the, Merchant of Venice, Hi. 2 ; in 
the cup, A Winter's Tale, ii. 1; a bottled, Richard III., i. 3 ; iv. 4; 
supposed to suck up venom, Richard II, Hi. 2 ; -like, Henry VIII, 
i. 1 ; a brain more busy than the, II. Henry VI, Hi. 1. 

Spinster, a, on a wife's duty — reasons for being a, Comedy of 
Errors, ii. 1. 

Spirits (courage, disposition), for anything not dishonourable, 
Measure for Measure. Hi. 1 ; coy and wild, Much Ado about Noth- 
ing, Hi. 1 ; undaunted, in a dying breast, I. Henry VI, Hi. 2 ; wan- 
ton, Troilus and Cressida, iv. 5 ; high, before death, Romeo and 
Juliet, v. 3 ; I see there's mettle in thee, Othello, iv. 2. 

Spirits (souls), finely touched to fine issues, Measure for Meas- 
ure, i. 1 ; the delighted, see Delighted ; a thousand in one breast, 
Richard II, iv. 1 ; cannot be kept in bondage, Julius Cmsar, ii. 1 ; 
that gallant, hath aspired the clouds, Romeo and Juliet, Hi. 1. 

Spirits (of the air), in a cloven pine, The Tempest, i. 2 ; from 
the vasty deep, I. Henry IV., Hi. 1; from under earth, 1. Henry VI, 
v. 3 ; II Henry VI, i. 2 ; ii. 1 ; of peace, Henry VIII, iv. 2 ; that 
tend on mortal thoughts, Macbeth, i. 5 ; the Martii, or spirits of re- 
venge, the authors of murders ; black and white, red and gray, Mac- 
beth, iv. 1 ; the extravagant and erring, Hamlet, i. 1. 

Spirits (ghosts), damned spirits all, Midsummer-Night 's Dream, 
Hi. 2 ; may walk again, A Winter's Tale, Hi. 3 ; II. Henry VI, i. 
4; no blood in, Julius Caesar, ii. 1; will speak. Hamlet, i. 1; at 
death, Sonnet Ixxiv. See Ghosts. 

Spleen, the, connected with laughter, Measure for Measure, ii. 
2 ; Love's Labour's Lost, v. 2 ; Taming of the Shrew, induction, 1 ; 
Twelfth Night, Hi. 2. 

Spleen (passion), Midsummer-Night's Dream, i. 1 ; of a weasel, 
I. Henry IV., ii. 3 ; of all the fiends, Coriolanus, iv. 1; the venom 
of, Julius Caesar, iv. 3, 

Spleen (impetuosity), I. Henry VI, iv. 6 ; Richard III, v. 3. 

Spoils, offered, Coriolanus, i. 9 ; despised, Coriolanus, ii. 2 ; not 
distributed, Hi. 3; heavy, v. 5. 

Sponge (drunkard), Merchant of Venice, i. 2 ; a king's favour- 
ite, Hamlet, iv. 2 or v. 6. 

Spoon(s), a long, to eat with the devil, The Tempest, ii. 2 ; 
Comedy of Errors, iv. 3 ; you'd spare your, Henry VIII, v. 2. 
The last refers to the christening-spoons given by the sponsors, 
sometimes called apostle-spoons, because they bore each an image 
of one of the apostles. 



INDEX TO SHAKSPERE'S WORKS. 345 

Sport, that pleases best, Love's Labour's Lost, v. 2, " Nay, my 
good lord," etc.; o'erthrown by sport, Love's Labour 's Lost, v. 2 ; 
for ladies, As You Like It, i. 2 ; rural, A Winter's Tale, iv. 3, 4 ; 
very reverend, Love's Labour s Lost, iv. 2 ; painful, The Tempest, 
Hi. 1. 

Spot(s), of blood, Macbeth, v. 1 ; of anger, Julius Cmsar, i. 2. 

Sprag (alert), Merry Wives of Windsor, iv. 1. 

Sprighted (haunted), Cymbeline, ii. 3. 

Spring, Love's Labour's Lost, v. 2, song ; Romeo and Juliet, i. 
2 ; Sonnet xcviii. ; Passionate Pilgrim, xxi. ; song of, Love's La- 
bour's Lost, v. 2 ; flowers of, A Winter's Tale, iv. 3. 

Spurs (the long roots of trees), Cymbeline, iv.2 ; The Tempest, v. 1. 

Spy, accusation of being a, The Tempest, i. 2 ; commissioning 
a, Hamlet, ii. 1. 

Squander (scatter), Merchant of Venice, i. 3; squandering 
glances of the fool, As You Like It, ii. 7. 

Square (quarrel), Antony and Cleopatra, Hi. 11 or 13, and else- 
where. 

Square, of sense, the, King Lear, i. 1. Obscure ; perhaps the 
four quarters or complete domain of sensation. 

Squares, the brave, of war, Antony and Cleopatra, Hi. 9. 

Squash, (an unripe peas-cod), Twelfth Night, i. 5 ; A Winter's 
Tale, i. 2 ; Midsummer-Night's Dream, Hi. 1, 

Squier (square), A Winter's Tale, v. 2 ; I. Henry IV., ii. 2. 

Squirrel, the joiner, Romeo and Juliet, i. 4 / hoard of the, Mid- 
summer-Night's Dream., iv. 1. 

Staff, a, is soon found to beat a dog, II. Henry VI, Hi. 1. 

Stafford, the Lord of, I. Henry IV. Edmund, fifth Earl of 
Stafford. 

Stafford, Sir Humphrey, and William his brother, characters in 
II. Henry VI, introduced in iv. 2. They are slain in iv. 3, in Cade's 
rebellion. Cade calls them silken-coated slaves. 

Stafford, Lord, character in III. Henry VI, addressed by the 
king in iv. 1. He was Sir Humphrey Stafford, of Southwyck, a 
cousin of the two preceding, a Yorkist, and in the play is ordered 
with Pembroke to levy men, and prepare for war ; but he afterward 
deserted Pembroke, for which offence he was attainted and behead- 
ed in 1469. 

Stafford, Humphrey, Henry, and Edward. See Buckingham. 

Stage, the world a, Merchant of Venice, i. 1 ; As You Like It, 
ii. 7 ; Sonnet xv. See Actors. 



346 INDEX TO SHAKSPERE'S WORKS. 

Staggers, the, Taming of the Shrew, Hi. 2 ; AWs Well that 
Ends Well, ii. 3 ; Cymbeline, iv. 5. 

Stains, on those that should be pure, Lucrece, I. 1009 ; of blood, 
Macbeth, v. 1. 

Stale (decoy), The Tempest, iv. 1; (stalking-horse, butt), Titus 
Andronicus, i. 1 or 2. 

Gtaleness, of the world. Hamlet, i. 2. 

Stalking, like a strange soul upon the Stygian banks, Troilus 
and Cressida, Hi. 2. 

Stalking-horse, As You Like It, v. 4. A real or artificial horse 
from behind which a fowler shot his game. 

Standard(s), The Tempest, Hi. 2 ; advance your, Richard III, 
v.-3. 

Stands upon (is incumbent), Richard III., iv. 2 ; Hamlet, v. 2 ; 
Antony and Cleopatra, ii. 1. 

Stanley, Sir John, character in II. Henry VI, introduced in ii. 
4. The Duchess of Gloucester was banished to the Isle of Man and 
put into his care. The Stanleys in III. Henry VI. and Richard III. 
were his brothers. 

Stanley, Sir William, brother of the preceding, character in 111. 
Henry VI. introduced in iv. 5, where he assists Edward IV. to 
escape from Middleham Castle, to which he had been sent by War- 
wick. In Richard III, iv. 5, he is named as one of those who have 
joined Richmond. The re-enforcements he brought to the field of 
Bosworth turned the battle against Richard ; and Richmond, when 
he became Henry VII., made him lord chamberlain and one of his 
counsellors. He, however, was implicated in the rebellion of Perkin 
Warbeck, and was condemned, after a form of trial, and beheaded in 
the year 1495. 

Stanley, Thomas, Lord, character in Richard 111., where he is 
also called Derby, though he was not made Earl of Derby until after 
the battle of Bosworth. He married the Countess of Richmond, and 
was therefore stepfather of Hemy VII. He was present when Hast- 
ings was seized, and narrowly escaped death. He was sent to the 
Tower, but released through Richard, who suspected his loyalty, 
and kept his son George as a hostage for his good faith while he sent 
him to levy soldiers. He raised the men, but did not bring them on 
the field until the last moment, when his brother William's forces 
turned the victory to the side of Richmond. 

Stanley, George, son of the preceding, is spoken of in Richard 
III, iv. 5, as being kept as surety for his father's good faith, " If I 



INDEX TO SHAKSPERE'S WORKS. 347 

revolt, off goes young George's head." He afterward became Lord 
Strange. 

Stannyel, the, checks (the kestrel flies at), Twelfth Night, ii. 5. 

Stanzo (old form of stanza), As You Like It, ii. 5. 

Star-chamber matter, a, Merry Wives of Wi?idsor, i. 1. The 
old court of star-chamber had jurisdiction in cases of riots. 

Starchy. See Strachy. 

Starling, a, taught to speak, I. Henry IV., i. 3. 

Star(s), shine no brighter for astronomers, Love's Labour's Lost, 
i. 1 ; harmony of the, Merchant of Venice, v. 1 ; a bright particu- 
lar, AWs Well that Ends Well, i. 1 ; two, not in one sphere, I. Henry 
IV., v.Jf.; cinders of the element, II. Henry IV., iv. 3; Diana's 
waiting- women, Troilus and Cressida, v. 2 ; cut him out in little, 
Romeo and Juliet, Hi. 2 ; the northern, Julius Caisar, Hi. 1; a 
shooting, Venus and Adonis, I. 815 ; influence of, see Astrology. 

Starve-lackey, the rapier and dagger man, a prisoner men- 
tioned in Measure for Measure, iv. 3. 

Starveling, Robert, a tailor, character in the Midsummer- 
Night's Dream, introduced in i. 2. He is cast for the part of This- 
by's mother in the play of the artisans, but, as she has nothing to say, 
he acts the part of moonshine. 

State, diseases of the, II. Henry IV., iv. 1; considerations of, 
in marriage, Hamlet, i. 3. 

States, the married calm of, Troilus and Cressida, i. 3 ; when 
mighty, characterless are grated to dusty nothing, Hi. 2. 

Station, effect of high, on the wise and on the foolish, Measure 
for Measure, ii. 4 ; dignified by deeds, All's Well that Ends Well, 
ii. 3, " From lowest place," etc. ; being in too high a, Antony and 
Cleopatra, ii. 7. 

Station (attitude), Hamlet, Hi. 4. 

Statist (statesman), Cymbeline, ii. 4 »* Hamlet, v. 2. 

Statue, unveiling of a. A Winter's Tale, v. 3. 

Stature, of Hermia and Helena, Midsummer- Night's Dream, 
Hi. 2 ; of Rosalind, As You Like It, i. 3. 

Statute-caps, Love's Labour's Lost, v. 2. Caps prescribed by 
law for persons below a certain rank. 

Stealing, by line and level, The Tempest, iv. 1; the way to, 
Merry Wives of Windsor, i. 3 ; the wise call it conveying, Merry 
Wives of Windsor, i. 3 ; one's self, Macbeth, ii. 3. 

Steel, true as, Troilus and Cressida, Hi. 3 ; Romeo and Juliet, 
i. 4 ; when steel grows soft, Coriolanus, i. 9. 



348 INDEX TO SHAKSPERE'S WORKS. 

Stelled (starry), King Lear, Hi. 7. 

Stelled (steeled, engraved). Lucrece, I. 1444 ; Sonnet xxiv. 

Stephano, a drunken butler in The Tempest, introduced in ii. 
2. The plot that he lays with Caliban and Trinculo, to take the 
island and make himself king, is a travesty of the plot of Antonio 
and Sebastian. 

Stephano, a servant of Portia in the Merchant of Venice, ap- 
pears in v. 1. 

Stepmothers, Cymbeline, i. 1 ; Midsummer- Night's Dream, i. 1. 

Sterility, invoked, King Lear, i. 4> charm against, Julius 
Cwsar, i, 2. 

Steward, in Timon of Athens, in some versions Flavius, q. v. 

Stewardship, of talents, Measure for Measure, i. 1, " Thyself 
and thy belongings," etc. 

Stickler (one who separates combatants, an arbitrator), Troilus 
and Cressida, v. 9. 

Stigmatic (one marked, as by being branded for crime ; also ap- 
plied to a deformed person), 7/. Henry VL, v. 1 ; III. Henry VI., 
ii. 2. 

Stillitory (distillery), Venus and Adonis, I. 443. 

Stoccata (a sword-thrust), Romeo and Juliet, Hi. 1. 

Stock-fish (dried cod), 7. Henry IV., ii. 4, and elsewhere. 

Stocks, punishment in the, Two Gentlemen of Verona, iv. 4 i 
AIVs Well that Ends Well, iv. 3 ; King Lear, ii. 2, 4 ,' Coriolanus, 
v. 3 ; Richard II, v. 5 ; Comedy of Errors, Hi. 1 ; Merry Wives of 
Windsor, iv. 5 ; " Bilboes," a kind of stocks used at sea, a bar of 
iron to link together mutinous sailors, are spoken of in Hamlet, 
v. 2. The name comes from Bilboa, a place in Spain where steel 
instruments were made. 

Stomach (variously used for appetite, pride, ambition, courage, 
anger), 1 wo Gentlemen of Verona, i. 2 ; Taming of the Shrew, v. 2 ; 
I. Henry IV.. ii. 3 ; Henry VIII, iv. 2. 

Stomaching (holding grudges), Antony and Cleopatra, ii. 2. 

Stone-bow (cross-bow for shooting stones), Twelfth Night, ii. 5. 

Stones (the enamelled), Two Gentlemen of Verona, ii. 7; pre- 
cious, Lover's Complaint, I. 210 ; from slings, Henry V. iv. 7 ; base, 
made precious, Richard III, v. 3. 

Stony-Stratford, a market-town of Berkshire, Richard III., 
ii. 4- 

Storm(s), raised by magic, The Tempest, i. 1, 2 ; v. 1 ; at sea, 
Comedy of Errors, i. 1 ; A Winter's Tale, Hi. 3 ; stillness before a, 



INDEX TO SHAKSPERE'S WORKS. 349 

Hamlet, ii. 2 ; Othello, ii. 1; Pericles, Hi., 'prologue, 1; on the 
heath, King Lear, ii. 4, end; Hi. 1, 2 ; betokened by a red morn, 
Venus and Adonis, I. 453. See Tempests. 

Stover (fodder), The Tempest, iv. 1. 

Strachy, lady of the, Twelfth Night, ii. 5. An obscure allu- 
sion, conjectured by some to refer to a story of a lady of the house 
of Strozzi ; by others that " it was a hint to the audience to expect 
subsequent allusion to the Starchy affair" — that is, exorcisms at- 
tempted by Puritan ministers in the case of a family named Starchy, 
and that these allusions were in the scene where the clown, as Sir 
Topas, attempts to cast out the supposed devil from Malvolio (iv. 2). 
Dyce defines it as the judge's or lawyer's widow. 

Strain, of noble, Much Ado about Nothing, ii. 1 ; Julius Cazsar, 
v. 1; of man, bred out into baboon and monkey, Timon of Athens, 
i. 1 ; a degenerate, Troilus and Cressida, ii. 2. 

Strange, passing, Othello, i. 3; more, than fiction, Twelfth 
Night, Hi. 4.. 

Strangers, I do desire we may be better, As You Like It, Hi. 2. 

Strappado, I. Henry IV., ii. 4- A kind of torture, produced 
by drawing a man up by his arms, which were tied behind, and let- 
ting him fall with a jerk. 

Stratagems. See Plots. 

Strato, a servant of Brutus in Julius Caesar, appears in v. 5. 

Straw, a wisp of, III. Henry VI., ii. 2. Scolds and wantons 
were often crowned with a wisp of straw when punished. 

Strawberries, grow under the nettle, Henry V., i. 1 ; in the 
bishop's garden, Richard III, Hi. 4. 

Stream, music of a, Two Gentlemen of Verona, ii. 7. 

Strength. See Giant, Hercules. 

Stricter (more restricted), Cymbeline, v. 4- 

Strife, among peoples of one faith, I. Henry VI, v. 1. 

Strikers (borrowers, thieves), I. Henry IV., ii. 1. 

Striving, to do better than well, King John, iv. 2 ; King Lear, 
i.4. 

Strokes, bad, with good words. Julius Cwsar, v. 1. 

Stuart kings, the, Macbeth, iv. 1. See Apparitions. 

Student-life, Shallow's, II. Henry IV., Hi. 2. 

Study, aim and f ruitlessness of, Love's Labour's Lost, i. 1 ; iv. 
3 ; most profitable when congenial, Taming of the Shrew, i. 1. 

Stuff, such, as dreams are made of, The Tempest, iv. 1 ; as mad- 
men tongue and brain not, Cymbeline, v. 4. 



350 INDEX TO SHAKSPERE'S WORKS. 

Styga, per, etc., Titus Andronicus, ii. 1. "I am dragged 
through the Styx, through the ghosts." — Seneca. 

Style, aggravate his (add to his titles), Merry Wives of Windsor, 
ii. 2 ; a boisterous and cruel, As you hike It, iv. 3 ; a tedious, 1. 
Henry VI., v. 1. 

Styx, to hover on the shore of, Titus Andronicus, i. 1 or 2 ; like 
a stray soul upon the banks of, Troilus and Cressida, Hi. 2 ; v. 4. 

Submission, of a son, II. Henry IV., v. 2 ; Richard III., ii. 2 ; 
a French word, I. Henry VI, v. 1. See Obedience. 

Subordinates, danger of too great fame to, Antony and Cleo- 
patra, Hi. 1. 

Subordination, necessity of, Troilus and Cressida, i. 3. 

Subscribed (signed away), King Lear, i. 2. 

Subscription (submission), King Lear, Hi. 2. 

Subtle (smooth), Coriolanus, v. 2. 

Subtleties, The Tempest, v. 1. Metaphor from an old name for 
fancy viands. 

Subtractors (detractors), Twelfth Night, i. 3. 

Suburbs, Measure for Measure, i. 2. Such people " lived mostly 
in the suburbs of London in Shakspere's day." — White. Dwell I 
but in the suburbs of your good pleasure ? Julius Caesar, ii. 1. 

Success, bad, of things ill-got, III. Henry VI, ii. 2. 

Success (succession), A Winter's Tale, i. 2. 

Sufferance, the badge of, Merchant of Venice, i. 3 ; of a dying 
beetle, Measure for Measure, Hi. 1; ease comes of, II Henry IV., 
v. 4,' lingering, Measure for Measure, ii. 4- 

Suffering 1 , fellowship in, King Lear, Hi. 6, end; unmerited, 
Richard II, v. 1 ; King Lear, v. 2. 

Suffolk, Michael de la Pole, third Earl of. His death and that 
of the Duke of York, at Agincourt, are pathetically described in 
Henry V., iv. 6. He is again mentioned in iv. 8. The Suffolk of I 
Henry VI was his brother and successor in the earldom. 

Suffolk, William de la Pole, fourth Earl of, afterward Duke, 
character in 1. Henry VI, introduced in ii. 4, and in 77. Henry VI, 
introduced in the first scene. He held high command in France 
under the regent Bedford, and was sent to negotiate the marriage of 
the king with Margaret of Anjou. According to the play, they were 
deeply attached to each other. Holinshed says the queen " entirely 
loved the duke." There is a prophecy concerning him in 77. Henry 
VI, i. 4, alluded to again in iv. 1. He was unpopular with the 
people for having given up Anjou and Maine, and was accused of 



INDEX TO SHAKSPERE'S WORKS. 351 

the murder of his rival, Humphrey of Gloucester. He was con- 
demned on a charge of treachery, and banished by the king, II Hen- 
ry VI, Hi. 2. On his way from the country he was seized and put 
to death by pirates, iv. 1. 

Suffolk, Charles Brandon, Duke of, character in Henry VIII, 
introduced in i. 2. He was the son of Sir William Brandon, who 
fell on Bosworth Field. He was called the handsomest man of his 
day, and was a great favourite with the king, with whom he was 
brought up. He married, for his third wife, Henry's sister, Mary 
Tudor, widow of Louis XII. of France. The unequal marriage gave 
occasion for the lines : 

" Cloth of frieze be not too bold, 
. Though thou art matched with cloth of gold ; 
Cloth of gold do not despise, 
Though thou art matched with cloth of frieze." 

Suggest, suggestion (tempt, temptation), The Tempest, ii. 1; 
AIVs Well that Ends Well, Hi. 5 ; I Henry IV., iv. 3 ; Lucrece, I. 
37 ; Sonnet cxliv ; Macbeth, i. 3, and elsewhere. 

Suicide, The Tempest, Hi. 3 ; Romeo and Juliet, v. 3 ; cowardly, 
Romeo and Juliet, Hi. 3 ; Julius Cmsar, i. 3 ; v. 1 ; shortens the 
time of fearing death, Julius Caisar, Hi. 1 ; the Almighty's canon 
'gainst, Hamlet, i. 2 ; soliloquy on, Hamlet, Hi. 1 ; burial of a, Ham- 
let, v. 1 ; Gloucester's intended, King Lear, iv. 6 ; v. 2 ; Roderigo's 
contemplated, Othello, i. 3 ; of Othello, v. 2 ; of Antony, Antony and 
Cleopatra, iv. 12 or 14 ; is it sin % Antony and Cleopatra, iv., end ; 
of Cleopatra, Antony and Cleopatra, v. 2 ; prohibition against, Cym- 
beline, Hi. 4> 

Suitors, discussion of. Merchant of Venice, i. 2 ; Taming of the 
Shrew, ii. 1 ; poor, have strong breaths, Coriolanus, i. 1. See Lov- 
ers, Love-Making. 

SuIIenness, Much Ado about Nothing, i. 3. 

Summer, brevity of, Sonnet xviii ; St. Martin's, I. Henry VI, 
i. 2 ; short summers have a forward spring, Richard III, Hi. 1. 

Sun, the, adoration of, AIVs Well that Ends Well, i. 3, " Thus 
Indian-like," etc. ; that orbed continent, Twelfth Night, v. 1 ; looks 
on all alike, A Winter's Tale, iv. 3 or 4 ; plays the alchemist, King 
John, Hi. 1 ; wandering knight — imitate the, /. Henry IV., i. 2 ; in 
March, nourishes agues, I Henry IV., iv. 1 ; his fiery car, Richard 
III, v. 3 ; as certain as it is fire, Coriolanus, v. 4 ; Juliet is the, Ro- 
meo and Juliet, ii. 2 ; if Caesar can hide it with a blanket, Julius 
Cwsar, Hi. 1 ; too much in the, Hamlet, i. 2 ; perhaps an allusion to 



352 INDEX TO SHAKSPERE'S WORKS. 

the meaning of the expression as homeless and friendless ; influence 
of eclipses of, King Lear, i. 2 ; burn the great sphere, Antony and 
Cleopatra, iv. 12 or 14; weary, Venus and Adonis, I. 178 ; his daily 
course, Sonnet vii ; the shadowed livery of the burnished, Merchant 
of Venice, ii. 1 ; men shut their doors against a setting, Timon of 
Athens, i. 2 ; the sun's a thief, and with his great attraction robs 
the vast sea, Timon of Athens, iv. 3. 

Sun(s), our half-faced, II. Henry VI., iv. 1. The device of Ed- 
ward IV. ; three, III. Henry VI, ii. 1. An historical incident. 

Sunday(s), sigh away, Much Ado about Nothing, i. 1 ; marriage 
on, Taming of the Shrew, ii. 1. Sunday was a favourite day for the 
ceremony. 

Sunflower (marigold), the, ^i Winter's Tale. iv. 3 or 4. 

Sunrise, Love's Labour's Lost, iv. 3; Richard II, ii. 3 ; I. 
Henry IV, v. 1; Romeo and Juliet, i. 1 ; ii. 3; Hi. 5; Venus and 
Adonis, I. 860 ; Sonnet xxxiii. 

Sunset, King John, v. 4; Richard II, ii. 4> Richard III, v. 
3 ; Julius Caisar, v. 3. 

Superfluity, disadvantage of, Merchant of Venice, i. 2 ; to gild 
refined gold, to paint the lily, King John, iv. 2. 

Superfluous (too rich), King Lear, iv. 1. 

Supernatural, the, discredited, All's Well that Ends Well, ii. 
3; belief in, Julius Caisar, i. 3 ; Macbeth, Hi. 4, "Can such things 
be," etc. See also Omens and Superstitions. 

Superstitions, regarding fairies, Merry Wives of Windsor, iv. 
4; v. 5;*odd numbers, Merry Wives of Windsor, v. 1 ; the jewel in 
the toad's head, As You Like It, ii. 1 ; that a man rescued from 
drowning would do his rescuer some injury, Twelfth Night, ii. 1, 
" If you will not murder me," etc. ; Pandulph shows how they may 
be turned to account, King John, Hi. 4, " How green you are," etc. ; 
concerning eclipses, Macbeth, ii. 3; Hamlet, i. 1; King Lear, i. 2; 
that the murdered bleed at the presence of the murderer, Richard 
III, i. 2 ; that blood will have blood, Macbeth, Hi. 4 ; concerning 
the dead on shipboard, Pericles, Hi. 1. See also Omens, Ghosts, 
Dreams, Magic, and Witchcraft. Coleridge says, "Superstition 
of one sort or another is natural to victorious generals," and Shak- 
spere attributes superstitious fears to Macbeth and Caesar. 

Supplication, Measure for Measure, ii. 2 ; Two Gentlemen of 
Verona, Hi. 1. 

Sur-addition (surname), Cymbeline, i. 1. 

Surfeit, the father of fast, Measure for Measure, i. 3 ; of honey, 



INDEX TO SHAKSPERE'S WORKS. 353 

I. Henry IV., iii. 2 ; of good things, Merchant of Venice, i. 2. See 
Excess. 

Surge, the murmuring, King Lear, iv. 6. 

Surgeons and surgery, allusions to: Midsummer -Night's 
Dream, v. 1 ; Merchant of Venice, iv. 1 ; Twelfth Night, v. 1 ; 1. 
Henry IV., v. 1 ; Henry V., iv. 1 ; Troilus and Cressida, v. 1 ; Mac- 
beth, iv. 3 ; King Lear, iv. 6; Othello, ii. 3. 

Surplice, of humility, AWs Well that Ends Well, i. 3. Allud- 
ing to the controversy about wearing the surplice. 

Surprise. See Astonishment. 

Surreined (overworked), Henry V., Hi. 5. 

Surrender, summons to, King John, ii. 1 or 2; Henry V., 
iii. 3. 

Surrey, Thomas Holland, Duke of, character in Richard II., in- 
troduced in i. 3. His father was the king's half-brother, a son of 
Joan, " the fair maid of Kent," by her first husband, Sir Thomas 
Holland. He acted as marshal at the meeting of Mowbray and 
Bolingbroke, i. 3, in place of Mowbray, who was hereditary earl- 
marshal. At the accession of Henry IV. he was deprived of his 
title, Duke of Surrey, which he was the first to bear, and which has 
never been revived, but kept his former title, Earl of Kent. He 
afterward joined in the conspiracy against Henry, was taken and 
executed, and his head set on London Bridge. 

Surrey, Thomas Fitz-Alan, Earl of, enters in II. Henry IV., iii. 
1, but does not speak. 

Surrey, Thomas Howard, Earl of, character in Richard III, 
introduced in v. 3. He was the son of the Duke of Norfolk in this 
play, and is the Duke of Norfolk in Henry VIII. After the battle 
of Bos worth he was attainted, imprisoned, and deprived of his title ; 
but he was released after three years, and restored to the title of 
Earl of Surrey. He commanded the English forces at Flodden 
Field in 1513, and for that service was restored to his father's rank 
and title as Duke of Norfolk. See Norfolk. 

Surrey, Thomas Howard, Earl of, character in Henry VIII, in- 
troduced in iii. 2. He was a son of the preceding. He also served 
at Flodden, and was afterward Lord Admiral of England and Lord 
Lieutenant of Ireland. The latter post he charges Wolsey in Hi. 3 
with having obtained for him to get him away from the country, so 
that he could not aid Buckingham, who was his father-in-law. His 
son was the famous Earl of Surrey, scholar and poet, who was exe- 
cuted by order of Henry VIII. Norfolk, the character in this play, 



354 INDEX TO SHAKSPERE'S WORKS. 

was destined for the same fate, but escaped by the death of the king 
the day before the one fixed for his execution. 

Surveyor, of the Duke of Buckingham in Henry VIII.. was 
Charles Knevet or Knivet, cousin of the duke. He testifies against 
his master in i. 2. 

Suspicion, Merchant of Venice, i. 3 ; A Winter's Tale, i. 2 ; iv. 
1 or 2 ; ever on a traitor, /. Henry IV., v. 2 ; ready tongue of, II. 
Henry IV., i. 1; ground for, II. Henry VI, Hi. 2; haunts the 
guilty, III. Henry VI, v. 6 ; want of, in innocence, King Lear, i. 2, 
end; poison, Othello, Hi. 3 ; against Macbeth, Hi. 6; ornament of 
beauty (suspect), Sonnet Ixx ; aroused, Hamlet, Hi. 2. 

Sutton-Co'fil (Coldfield), I. Henry IV, iv. 2. A town about 
twenty-four miles north of Coventry. 

Swallow, the, A Winter's Tale, iv. 3 ; Timon of Athens, Hi. 6 ; 
ominous, Antony and Cleopatra, iv. 12. 

Swan(s), dying song of the, Merchant of Venice, Hi. 2; King 
John, v. 7 ; Othello, v. 2 ; Lucrece, I. 1611 ; thy, a crow, Romeo and 
Juliet, i. 2 ; let the priest be the death-divining swan, The Phoznix 
and the Turtle. 

Swans, Juno's (for peacocks), As You Like It. i. 2. 

Swarths (swaths), Twelfth Night, ii. 3. 

Swashers, three, Henry V., Hi. 2. 

Swashing (swaggering), As You Like It, i. 3. 

Swearing, like a lady — like a comfit-maker's wife, 1. Henry IV., 
Hi. 1, near the end ; by a gentleman, Cymbeline, ii. 1 ; why should 
I think you can be mine, and true, though you in swearing shake 
the throned gods % Antony and Cleopatra, i. 3. See Oaths. 

Sweet Cytherea sitting by a brook, Passionate Pil- 
grim, iv. 

Sweet love, renew thy force, Sonnet Ivi. 

Sweet marjoram, King Lear, iv. 6. 

Sweetness, in speech, Julius Ccesar, v. 1. 

Sweet rose, fair flower, Passionate Pilgrim, x. 

Sweets, sour in digestion, Richard II, i. 3 ; to the sweet, Ham- 
let, v. 1 ; grown common, Sonnet cii. 

Sweno, King of Norway, brought an army to Fife, and, with 
the aid of Cawdor, vanquished the Scots at Culros, but was after- 
ward beaten by Macbeth, Macbeth, i. 2. 

Swiftness, like the arrow, Midsummer-Night's Dream, Hi. 2 ; 
of hope, Richard III, v. 2. 

Swimmers, as two spent, Macbeth, i. 2. 



INDEX TO SHAKSPERE'S WORKS. 355 

Swimming, Ferdinand's, The Tempest, ii. 1; by Csesar and 
Cassius, Julius Ccesar, i. 2. 

Swinge (whip), Taming of the Shrew, v. 2, and elsewhere. 

Swinge-bucklers (caro users), II. Henry IV., Hi. 2. 

Swinstead Abbey, King John, v. 3, 6, 7. Swinstead, or Swines- 
head, is in Lincolnshire, seven miles from Boston, and was itself once 
a port, the sea flowing up to its market-place, which was a harbour. 
John did not die there, as in the play, but at Newark Castle, in Not- 
tinghamshire. The story of his death is thus told by Roger of Wend- 
over : " While Louis was continuing the siege of Dover for a length 
of time, and without success, John, with a large force, had been com- 
mitting terrible ravages in the counties of Suffolk and Norfolk. At 
last he took his way through the town of Lynn, where he was re- 
ceived with joy by the inhabitants, and received large presents from 
them. He then took his march toward the north, bnt in crossing 
the river Wellester, he lost all his carts, wagons, and baggage- 
horses, together with his money, costly vessels, and everything which 
he had a particular regard for ; for the land opened in the middle of 
the water and caused whirlpools, which sucked in everything, as 
well as men and horses, so that no one escaped to tell the king of the 
misfortune. He himself narrowly escaped with his army, and passed 
the following night at a convent called Swineshead, where, as was 
thought, he felt such anguish of mind about his property which was 
swallowed up by the waters, that he was seized with a violent fever 
and became ill ; his sickness was increased by his pernicious gluttony, 
for that night he surfeited himself with peaches and drinking new 
cider, which greatly increased and aggravated the fever in him. He 
however left that place at early dawn, although in pain, and pro- 
ceeded to the castle of Lafort [Sleaford] to take up his quarters, and 
at this place he was in such pain, that on the following day it was 
with difficulty that he reached Newark on horseback ; there his dis- 
ease gained ground, and he confessed himself and received the 
eucharist from the Abbot of Croxton. . . . Being then asked by the 
abbot where he would wish to be buried in case he should die, he 
answered, ' To God and St. Wolstan I commend my body and soul.' 
After this, on the night next after St. Luke the Evangelist's day 
[October 19, 1216] he departed this life, having reigned eighteen 
years and a half ; his body was dressed in royal robes and carried to 
Worcester, and was there honourably buried in the cathedral church 
by the bishop of that place." Nothing now remains of the original 
abbey, which was founded in 1154. It was demolished in 1610, and 
31 



356 INDEX TO SHAKSPERE'S WORKS. 

the materials were built into a stone mansion, known also as Swines- 
head Abbey. 

Switzers, Hamlet, iv. 5 or 2. Mercenary soldiers, the king's 
guards. The Swiss served various countries as mercenaries. 

Sword(s), a charmed, The Tempest, i. 2 ; to open the world 
with, Merry Wives of Windsor, ii. 2 ; study the word and the, 
Merry Wives of Windsor, Hi. 1; wooed with the, Midsummer- 
Night' 's Dream, i. 1 ; sworn by, A Winter's Tale, ii. 3 ; Samlet, i. 
5 ; hidden with crowns, Henry V, ii., chorus ; of a lath, II. Henry 
VI., iv. 2 ; carve a passage with — voice in the, Macbeth, v. 7 ; ten- 
der-mindedness does not become a, King Lear, v. 3 ; of heaven, 
Measure for Measure, Hi. 2 ; eat, Much Ado about Nothing, iv. 1 ; 
Troilus and Cressida, ii. 3. 

Sword-and-buckler, prince, a, I. Henry IV., i. 3. The buckler 
was deemed a " clownish, dastardly weapon." 

Sword-dance, allusion to, All's Well that Ends Well, ii. 1; An- 
tony and Cleopatra, Hi. 2. A dance in which skill was shown in the 
handling and striking together of swords. 

Swordsmen, old, Merry Wives of Windsor, ii. 3. 

Sycophants, Timon of Athens, Hi. 6 ; King Lear, ii. 2, " Such 
smiling rogues as these," etc. 

Sycorax, a witch, mother of Caliban in The Tempest, spoken of 
in i. 2 ; v. 1. She had had Ariel for her servant, and for disobedi- 
ence shut him up in a cloven pine, from which Prospero released 
him after a dozen years. 

" As long as I can remember the play of The Tempest, one pas- 
sage in it has always set me upon wondering. It has puzzled me 
beyond measure. ... It is where Prospero, relating the banishment 
of Sycorax from Argier, adds : 

' For one thing that she did, 
They would not take her life.' 
... At length I think I have lighted upon a clue which may lead to 
show what was passing in the mind of Shakspere when he dropped 
this imperfect rumour. In the ' Accurate Description of Africa, by 
John Ogilby, folio, 1670, page 230, I find written as follows: 'In the 
last place, we will briefly give an account of the Emperor Charles 
the Fifth, when he besieged this city [Algier]. This prince, in the 
year 1541, having embarqued upon the sea an army of 22,000 men 
aboard eighteen galleys and an hundred tall ships, not counting the 
barques and shallops, and other small boats, in which he had en- 
gaged the principal of the Spanish and Italian nobility with a good 
number of the Knights of Malta. . . . They next fell to battering 
the city by the force of cannon ; which the assailants so weakened, 
that in that great extremity the defendants lost their courage and 



INDEX TO SHAKSPERE'S WORKS. 357 

resolved to surrender. But as they were thus intending, there was a 
witch of the town, whom the history does not name, which went to 
seek out Assam Aga, that commanded within, and prayed him to 
make it good yet nine days longer, with assurance that within that 
time he should infallibly see Algier delivered from that siege, and 
the whole army of the enemy dispersed so that Christians should be 
as cheap as birds. In a word, the thing did happen in the manner 
as foretold ; for, upon the 21st day of October, in the same year, 
there fell a continual rain upon the land, and so furious a storm at 
sea, that one might have seen ships hoisted into the clouds and in 
one instant again precipitated into the bottom of the water ; inso- 
much that that same dreadfuL-tempest was followed with the loss of 
fifteen galleys and above an hundred other vessels ; which was the 
cause why the Emperor, seeing his army wasted by the bad weather, 
pursued by a famine, occasioned by wrack of his ships in which was 
the greater part of his victuals and ammunition, he was constrained 
to raise the siege, and set sail for Sicily, whither he retreated with 
the miserable reliques of his fleet. In the meantime, that witch 
being acknowledged the deliverer of Algier, was richly remunerated 
and the credit of her charms authorized. . . . And hereupon those 
of Algier, to palliate the shame and the reproaches that are thrown 
upon them for making use of a witch in the danger of this siege, do 
say that the loss of the forces of Charles V. was caused by a prayer 
of one of their Marabous, named Cidy Utica, which was at that time 
in great credit, not under the notion of a magician, but for a person 
of holy life. Afterwards, in remembrance of their success, they have 
erected unto him a small mosque without the Babason gate, where 
he is buried, and in which they keep sundry lamps burning in honour 
of him ; nay, they sometimes repair thither to make their sola, for a 
testimony of greater veneration.' Can it be doubted for a moment, 
that the dramatist had come fresh from reading some older narrative 
of this deliverance of Algier by a witch, and transferred the merit of 
the deed to his Sycorax, exchanging only the ' rich remuneration,' 
which did not suit his purpose, to the simple pardon of her life % 
Ogilby wrote in 1670 ; but the authorities to which he refers for his 
account of Barbary are Johannes de Leo, or Africanus, Louis Marmol, 
Diego de Haedo, Johannes Gramaye, Braeves, Cel. Curio, and Diego 
de Torres, names totally unknown to me, and to which I beg leave to 
refer the curious reader for his fuller satisfaction." — Charles Lamb. 

Sylla, II Henry VI, iv. 1. 

Sympathy, obligation of, The Tempest, v. 1; offered, Merry 
Wives of Windsor, ii. 1, letter ; in sorrow, Much Ado about Nothing, 
v. 1 ; craving for, Richard II, v. 1 ; ignorant, Lucrece, lines 1228, 
1270 ; with the wretched, King Lear, Hi. 4, 6 ; iv. 1 ; in suffering, 
Othello, Hi. 3 ; Tempest, i. 2 ; v. 1. 

Syracuse, in Sicily, home of some of the characters in the 
Comedy of Errors ; traffic between Ephesus and, i. 1. 

Syracuse, Duke of, referred to in the Comedy of Errors, i. 1. 

Syria, a plain in, scene of a part of Antony and Cleopatra. 



358 INDEX TO SHAKSPERE'S WORKS. 

Table (in chiromancy, the whole collection of lines on the palm), 
Merchant of Venice, ii. 2. 

Tables (memorandum-tablets), Two Gentlemen of Verona, ii. 7 ; 
Hamlet, i. 5 ; Troilus and Cressida, v. 5. 

Tabor, music of the, The Tempest, in. 2 ; Ariel's, The Tempest, 
iv. 1 ; a fool's, Twelfth Night, in. 1 ; Much Ado about Nothing, 
ii. 3. 

Tabourines, Antony and Cleopatra, iv. 8 ; Troilus and Cres- 
sida, iv. 5. 

Taciturnity, Troilus and Cressida, iv. 2. 

Tailor, abuse of a, Taming of the Shrew, iv. 3 ; to turn, I. Hen- 
ry IV., Hi. 1; tailors were proverbially fond of music; made by a, 
Cymbeline, iv. 1; King Lear, ii. 2 ; an exclamation made on fall- 
ing, Midsummer - Night 's Dream, ii. 1; goose of a, Macbeth, 
ii. 3 ; the, with his last, Romeo and Juliet, i. 2. 

Take all ray loves, my love, yea, take them all, Sonnet xl. 

Take, O take, song, Measure for Measure, iv. 1 (of doubtful 
authorship). 

Take thine old cloak, stanzas from the song, Othello, ii. 3. 
The song is to be found in Percy's " Reliques." 

Takes the cattle, Merry Wives of Windsor, iv. 4. An animal 
stricken by the fairies with disease was said to be taken. 

Taking (infected) airs, King Lear, ii. 4 >' (witchcraft), King 
Lear, Hi. 4- 

Talbot, John, Lord, afterward Earl of Shrewsbury, character in 
I. Henry VI. This famous general was taken prisoner by the 
French at the siege of Patay in 1429, alluded to in *. 1, where his 
bravery at the siege is described. He first appears in t. 4, having 
been exchanged for Lord Ponton de Saintrailles. His successes are 
enumerated in Hi. 4, and he is there made Earl of Shrewsbury, be- 
fore the king's coronation, which took place in 1431, though, as a 
matter of fact, he did not receive the title till 1442. He was after- 
ward made Earl of Waterford and Wexford. In ii. 3 the Countess 
of Auvergne alludes to the fact that his name was such a terror in 
France that " mothers stilled their babes " with it, and expresses 
surprise at the insignificance of the great general's appearance. He 
conducted the siege of Bordeaux and took the town, iv. 2-5, and was 
defeated and killed at Castillon, iv. 7. This occurred in 1453, long 
after the execution of Joan, though it is not so represented in the 
play. Talbot's death ended English hopes of dominion in France. 

Talbot, young John, son of the Earl of Shrewsbury, character 



INDEX TO SHAKSPERE 'S WORKS. 359 

in I. Henry VI., introduced in iv. 5 ; his bravery, iv. 5-7 ; his death, 
iv. 7. 

Talbot, Sir Gilbert, mentioned in Richard III, iv. 5, as one of 
the adherents of Richmond, a grandson of the Earl of Shrewsbury 
in Henry VI. 

Tale, thereby hangs a, Merry Wives of Windsor, i. 4 ; As Yon 
Like It, ii. 7 ; Taming of the Shrew, iv. 1 ; Othello, Hi. 1 ; an an- 
cient, new told, King John, iv. 2 ; an honest, speeds best plainly 
told, Richard III., iv. 4 ; a sad, befits winter, A Winter's Tale, ii. 
1 ; life like an idiot's, Macbeth, v. 5 ; effect of a frightful, Hamlet, i. 
5 ; a round, unvarnished, Othello, i. 3 ; of woe, Richard II, v. 1 ; a 
true, Merchant of Venice, Hi. 1. 

Tale, as thick as, Macbeth, i. 3. Tally — fast as one could count. 

Talents, thankfulness for, Love's Labour's Lost, iv. 2 ; hidden, 
Twelfth Night, i. 3, •' Wherefore are," etc. ; only felt by communica- 
tions, Troilus and Cressida, Hi. 3. 

Talents (talons), Love's Labour's Lost, iv. 2. 

Talking. See Speech, Words. 

Talker(s), caution to a great, Merchant of Venice, i. 1 ; are no 
doers, Richard 111., i. 3 ; exhorted to brevity, Troilus and Cressida, 
i. 5 ; like a woman, I. Henry IV., i. 3 ; a voluble knave, Othello, 
ii. 1 ; without action, Titus Andronicus, v. 2. 

Tall (brave, fine), Twelfth Night, i. 3, and elsewhere. 

Tallow-keech, I. Henry IV., ii. 4- A round lump ready to be 
carried from the butcher to the chandler. 

Taming of the Shrew, The, a comedy first printed in the folio 
of 1623. The date of writing has been variously conjectured, the 
dates assigned ranging from 1596 to 1606. There was an older play, 
" The Taming of a Shrew," by an unknown author, guessed to be 
Robert Greene, published in 1594, but probably on the stage for 
some time before. In this there was little of the part of Bianca and 
her suitors ; but Shakspere is not credited with the writing of this 
part. It is supposed to be the work of an inferior hand, either a co- 
labourer with him, or one who revamped the old play, and whose 
version was in turn revamped by Shakspere, whose hand appears in 
the induction and the scenes in which Petruchio, Katherina, and 
Grumio are the chief actors. The story of the induction is told in the 
" Arabian Nights." It is given as an anecdote of Philip the Good, 
Duke of Burgundy, in Goulart's " Admirable and Memorable Histo- 
ries," and as " The Waking Man's Dreame " in a collection of comic 
stories by Richard Edwards, published in 1570. That part relating 



360 INDEX TO SHAKSPERE' S WORKS. 

to Bianca is founded on Ariosto's " Gli Suppositi," translated by 
Gascoigne with the title " Supposes." The story of the shrew has 
some resemblance to that in an old poem, *' The Curst Wife Lapped 
in Morel's Skin." The time of the comedy is the time of Shak- 
spere. 

" That delicious episode, the Induction, presents us with a frag- 
ment of the rural life with which Shakspere himself must have been 
familiar in his native county. With such animated power is it writ- 
ten that we almost appear personally to witness the affray between 
Marian Hacket, the fat ale-wife of Wincot, and Christopher Sly ; to 
see the nobleman, on his return from the chase, discovering the in- 
sensible drunkard ; and to hear the strolling actors make the offer of 
professional services that was requited by the cordial welcome to the 
buttery. Wincot is a secluded hamlet near Stratford-on-Avon, and 
there is an old tradition that the ale-house frequented by Sly was 
often resorted to by Shakspere for the sake of diverting himself with 
a fool who belonged to a neighbouring mill. Stephen Sly, ore of 
the tinker's friends or relatives, was a known character at Stratford- 
on-Avon, and is several times mentioned in the records of that town. 
This fact, taken in conjunction with the references to Wilmecote and 
Barton-on-the-Heath, definitely prove that the scene of the Induction 
was intended to be in the neighbourhood of Stratford-on-Avon, the 
water-mill tradition leading to the belief that Little Wilmecote, the 
part of the hamlet nearest to the poet's native town, is the Wincot 
alluded to in the comedy." — Halliwell-Phillipps. 

Taming school, a, Taming of the Shrew, iv. 2. 

Tamora, Queen of the Goths, character in Titus Andronicus, 
first appears in i. 1 or 2, as a prisoner, where she pleads for her son, 
about to be sacrificed on the tomb of the sons of Titus. She is re- 
leased, courted by the emperor, and made empress. She asks the 
pardon of Titus and his sons, intending to take vengeance on them 
treacherously. Her revenge, ii. 3 ; iv. 4 ; disguises herself as -Re- 
venge, v. 2 ; killed by Titus, v. 3. 

Tamworth, a market-town on the border of Staffordshire and 
Warwickshire ; plain near, scene of v. 2 in Richard III. 

Tanling-s (tanned persons), Cymbeline, iv. 4. 

Tanta est, Henry VIII, Hi. 1. So great is thy integrity of 
mind, most serene queen. 

Tantaene, etc., II. Henry VI, ii. 1. "Dwells such wrath in 
celestial souls ? " — Virgil. 

Tapestry, often called painted cloth, As You Like It, iii.2; 
the story of Cleopatra in, Cymbeline, ii. 4 ; the siege of Troy, Lu- 
crece, I. 1367. Proverbial phrases were often wrought on it. Turk- 
ish, Comedy of Errors, iv. 1 ; Tyrian, Taming of the Shrew, ii. 1. 



INDEX TO SHAKSPERE'S WORKS. 361 

Tapster, jests on a, I. Henry IV., ii. 4>' reckoning fit only for a, 
Love's Labour's Lost, i. 2. 

Tardiness, a, in nature, King Lear, i. 1. 

Target, the device of three suns upon that of Edward IV., III. 
Henry VI, ii. 1. 

Tarpeian rock, the, Coriolanus, in. 1, 2. A precipice near the 
Capitol, in Rome, from which traitors and other malefactors were 
thrown. 

Tarquinius, Lucius, surnamed Superbus, King of Rome, died 
about 495 b. c, Lucrece, argument and poem. 

Tarquinius, Sextus, Lucrece, argument and poem. 

Tarquins, the, allusions to, Titus Andronicus, in. 1; iv. 1; 
Coriolanus, ii. 1, 2 ; v. 4 ; Julius Ca&sar, ii. 1 ; Macbeth, ii. 1 ; Cym- 
beline, ii. 2. 

Tarre (set on), King John, iv. 1 ; and elsewhere. 

Tartar (Tartarus), Comedy of Errors, iv. 2 ; Twelfth Night, ii. 
5 ; Henry V., ii. 2. 

Tartars (cruel and tawny), Merry Wives of Windsor, iv. 5 ; 
Midsummer- Night's Dream, Hi. 2 ; Merchant of Venice, iv. 1; All's 
Well that Ends Well, iv. 4 ; Romeo and Juliet, i. 4- 

Tassel-gentle, Romeo and Juliet, ii. 2. Properly tercel-gentle, 
as in Troilus and Cressida, Hi. 2. The male goshawk, which is 
gentle and docile. 

Taste, things sweet to, prove in digestion sour, Richard II., i. 3. 

Taunts, Antony and Cleopatra, i. 3. 

Taurus, born under, Twelfth Night, i. 3. See Astrology. 

Taurus, character in Antony and Cleopatra, introduced in Hi. 
8. Cassar's lieutenant-general. 

Tavern-bills, Cymbeline, v. 4. " A heavy reckoning." 

Tawdry lace (necklace, or cheap lace sold at the fair of St. Au- 
drey or Ethelreda), A Winter's Tale, iv. 3 or 4> St. Audrey was said 
to have been addicted to the wearing of necklaces in her youth, and 
to have died of a swelling of the throat, as a judgment, she thought, 
for her vanity. 

Tawny coats, I. Henry VI., i. 3. The color worn by servants 
of high dignitaries of the Church. 

Taxation, excessive, Richard II., ii. 1; Henry VIII, i. 2 ; 
Julius Cmsar, iv. 3 ; Titus Andronicus, iv. 1. See Tribute. 

Taxation (satire), As You Like It, i. 2. 

Teaching, difficulty of following one's own, Merchant of Venice, 
i. 2 ; I. Henry VI, Hi. 1 ; Hamlet, i. 3. 



362 INDEX TO SHAKSPERE'S WORKS. 

Tear(s), decked the sea with, The Tempest, i. 2 ; like winter's 
drops, The Tempest, v. 1; Silvia's, Two Gentlemen of Verona, ii. 3 ; 
Hi. 1 ; of joy, Much Ado about Nothing, i. 1 ; of the deer, As You 
Like It, ii. 1 ; if ever you have wiped a, As You Like It, ii. 7 ; to 
season praise, All's Well that Ends Well, i. 1 ; the rainbow in, 
All's Well that Ends Well, i. 3 ; drowned with, Twelfth Night, ii. 
1 ; not prone to, A Winter's Tale, ii. 1; Arthur's, King John, ii. 1; 
like a proud river, King John, Hi. 1 ; villainy is not without, King 
John, iv. 3 ; of a man, King John, v. 2 ; Henry V., iv. 6 ; Henry 
VIII, Hi. 2 ; v. 1; Lucrece, I. 1790 ; will make foul weather— de- 
spised— dig graves with, etc., Richard II, Hi. 3; a world of water, 
I. Henry IV., Hi. 1 ; for babes, III. Henry VI, ii. 1 ; with every 
word, III Henry VI, v. 4; millstones for, Richard III, i. 3 ; the 
watery morn, Richard III, ii. 2 ; like honey on a lily, Titus An- 
dronicus, Hi. 1; of joy, Timon of Athens, i. 2 ; Romeo and Juliet, 
Hi. 5 ; a house of, Romeo and Juliet, iv. 1 ; prepare to shed, Julius 
Caesar, Hi. 2 ; I forbid my, Hamlet, iv. 7 or 4, end ; women's weap- 
ons, King Lear, ii. 4 ; of Lear, King Lear, Hi. 7 ; of Cordelia, King 
Lear, iv. 3 ; crocodile, II. Henry VI, Hi. 1 ; Othello, iv. 1 ; where 
be the sacred vials, Antony and Cleopatra, i. 3 ; of Antony, Antony 
and Cleopatra, Hi. 2; of despair, Venus and Adonis, I. 956; of 
sympathy, Lucrece, lines 1136, 1270 ; of men, Lucrece, I. 1790 ; of 
one forsaken, Lover's Complaint, lines 40, 50 ; witchcraft in, Lover's 
Complaint, I. 288; cause illusions, Richard II, ii. 2; Titus and 
Andronicus, Hi. 2. 

Tearsheet, Doll. See Doll Tearsheet. 

Te Deum, sung, Henry V., iv. 8 ; Henry VIII, iv. 1. 

Tediousness, in talk, I. Henry IV., Hi. 1, " I cannot choose," 
etc. ; Measure for Measure, Hi. 1 ; as tedious as a king, Much Ado 
about Nothing, Hi. 5 ; tedious and brief, Midsummer-Night's Dream, 
v. 1. 

Teen (anxiety, sorrow), The Tempest, i. 2 ; Love's Labour's Lost, 
iv. 3 ; Richard III, iv. 1 ; Romeo and Juliet, i. 3. 

Teeth, significance of being born with, 77/. Henry VI, v. 6 ; 
did it from his, Antony and Cleopatra, Hi. 4. Only outwardly, not 
from the heart. A great man, I'll warrant ; I know by the picking 
on's teeth, Winter's Tale, iv. 3 or 4> 

Telamon (Ajax), Antony and Cleopatra, iv. 11 or 13, 12 or 14. 

Tell me, where is fancy bred ? song, Merchant of Venice, 
Hi. 2. 

Tellus (the earth), Hamlet, Hi. 2 ; Pericles, iv. 1. 



INDEX TO.SHAKSPERE'S WORKS. 363 

Temperance, As You Like It, ii. 3 ; ask God for, Henry VIII., 
i. 1 ; Othello, ii. 3. 

Tempest, a, foretold, I. Henry IV., v. 1 ; a, Julius Ccesar, i. 3 ; 
Lear contending with the, King Lear, Hi. 1, 2 ; ill-omened, Henry 
VIIL, i. 1 ; Macbeth, ii. 3. See Storms. 

Tempest, The, is one of the latest of the plays in date of com- 
position, the evidence going to show that it was written in 1610 or 
1611, subsequently to all the others except A Winter's Tale and 
Henry VIIL De Quincey, Campbell, Malone, Maginn, and others 
believe it to be the very last. The source whence the story came has 
not been discovered ; but the plot is said to resemble that of " The 
Beautiful Sidea," by Jacob Ayrer, of Nuremberg : and it is thought 
that both were taken from some old tale or play. The fanciful com- 
monwealth described by Gonzalo, ii. 1, is borrowed from a transla- 
tion, published in 1603, of Montaigne's " Essays." 

M ' The Tempest ' is a specimen of the purely romantic drama, in 
which the interest is not historical, or dependent upon fidelity of 
portraiture, or the natural connection of events, but is a birth of the 
imagination, and rests only on the coaptation and union of the ele- 
ments granted to, or assumed by, the poet. It is a species of drama 
which owes no allegiance to time or space, and in which, therefore, 
errors of chronology and geography— no mortal sins in any species 
— are venial faults, and count for nothing. It addresses itself en- 
tirely to the imaginative faculty." — Coleridge. 

Temple Garden, London, scene of I. Henry VI., ii. 4> 

Temple Hall, the, I. Henry IV., Hi. 3. 

Temple(s), the solemn, The Tempest, iv. 1; of the mind, Cym- 
beline, ii. 1 ; of the body, Hamlet, i. 3; in the forest, As You Liks 
It, Hi. 3. 

Temporary (lime-serving), Measure for Measure, v. 1. 

Temporizer, a, A Winter's Tale, i. 2, " Or else a hovering," etc. ; 
policy of being a, Coriolanus, iv. 6. 

Tempt ation(s), Measure for Measure, ii. 1,2 ; the struggle with, 
Julius Caisar. ii. 1, " Between the acting," etc. ; of evil spirits, Mac- 
beth, i. 3 ; trifling with, Othello, iv. 1; Troilus and Cressida, iv. 4; 
The Tempest, iv. 1 ; Twelfth Night, Hi. £ 

Temptations, of life, A Winter's Tale, i. 2. 

Tenantius, father of Cymbeline, mentioned in t. 1 ; v. 4- 

Ten Commandments, the, II. Henry VI., i. 3. A common ex- 
pression for the finger-nails. 

Tender-hested (tenderly behested or governed), King Lear, ii. £ 

Tenderness, in a man, Coriolanus, v. 3 ; Cymbeline, i. 2. 



364 INDEX TO SHAKSPERE'S WORKS. 

Tenedos, island of, Troilns and Cressida, prologue. 

Tennis, the game of, II. Henry IV., ii. 2 ; Henry V., i. 2, 
" When we have matched our rackets," etc. ; the incident is told in 
the old chronicles; Pericles, ii. 1; Henry VIII., i. 3; Hamlet, ii.l; 
Much Ado about Nothing, ii. 3. 

Tent (probe), Troilus and Cressida, ii. 2 ; Cymbeline, Hi. 4» 
Hamlet, ii. 2; Coriolanus, Hi. 2, and elsewhere. 

Tercel-gentle. See Tassel-gentle. 

Tereus, Titus Andronicus, ii. 4 or 5 ; iv. 1; Cymbeline, ii. 2 ; 
Lucrece, I. 1134,' Passionate Pilgrim, xxi. He dishonoured his 
sister-in-law, Philomela, and cut out her tongue ; she wrote his 
crime in needlework, and was afterward changed into a nightingale. 

Termagant, Hamlet, Hi. 2. A supposed god of the Saracens, 
introduced into the miracle-plays, a noisy ranter. 

Terminations (terms), Much Ado about Nothing, ii. 1, "If 
her breath were as terrible as her terminations, there were no living 
near her." 

Terras Astrsea reliquit, Titus Andronicus, iv. 3. Astraa, 
goddess of innocence, left the earth when it became filled with 
crime, and was placed among the stars, where she became the con- 
stellation Virgo. 

Terror, Macbeth, Hi. 3 ; Hamlet, i. 2. See Fear. 

Testament, one, like those of worldlings, As You Like It, ii. 1 ; 
of war, Richard II., Hi. 3 ; of love, Henry V., iv. 6 ; of Lucrece, 
Lucrece, 1. 1183. See Wills. 

Tester, testern, or testril, Two Gentlemen of Verona, i. 1 ; Mer- 
ry Wives of Windsor, i. 3 ; Twelfth Night, ii. 3. An old French 
coin varying in value at different times from six to eighteen pence. 

Tewksbury, battle of (May 14, 1471), III. Henry VI, v. 4, 5; 
Richard III, i. 2-4 ; ii. 1 ; v. 3. 

Tewksbury mustard, II. Henry 1 V., ii. 4> Mustard ground 
and made into balls, " the best the world affords." 

Thaisa, daughter of Simonides, in Pericles, introduced in ii, 2 ; 
marries Pericles, ii. 5 ; her supposed death, Hi. 1 ; her restoration, 
Hi. 2 ; goes to serve Diana, Hi. 4; is restored to Pericles, v. 3. 

Thaliard, a lord of Antioch, in Pericles, introduced in i. 1 ; a 
tool in the hands of Antiochus. 

Thanes, noblemen. On the establishment of the feudal system, 
after the conquest, the title baron took the place of thane. It is 
applied to the Scottish lords in Macbeth. 

Thanks, currish, Two Gentlemen of Verona, iv. 3 ; beggarly, 



INDEX TO SHAKSPERE'S WORKS. 3G5 

As You Like It, ii. 5 ; good turns shuffled off with, Twelfth Night, 
Hi. 3 ; for hospitality, A Winter's Tale, i. 1, 2 ; the exchequer of 
the poor, Richard II., ii. 3; honourable meed to men of noble 
minds, Titus Andronicus, i, 2 ; too dear at a halfpenny, Hamlet, ii. 
2 ; to God, II. Henry VI, i. 1 ; ii. 1. See Gratitude. 

Tharborough (third borough, a constable), Love's Labour's 
Lost. i. 1. 

Tharsus, in Cilicia, Asia Minor, scene of a part of Pericles; 
famine in, i. 4. 

Thasos, now Thasso, an island in the Grecian Archipelago, 
Julius Cmsar, v. 3. 

That God forbid that made me first your slave, Sonnet 
Iviii. 

That thou art blamed shall not be thy defect, Sonnet Ixx. 

That thou hast her, it is not all my grief, Sonnet xlii. 

That time of year thou mayst in me behold, Sonnet Ixxiii. 

That you were once unkind befriends me now, Sonnet cxx. 

Thaw, a man of continual dissolution and, Merry Wives of 
Windsor, Hi. 5 ; duller than a great, Much Ado about Nothing, ii. 1. 

Theatre(s), the Globe. See 0, this wooden ; imagination at the, 
Henry V., i., chorus; of the world, As You Like It, ii. 7 ; "This 
wide and universal," etc. See also Stage. 

The expense of spirit in a waste of shame, Sonnet cxxix. 

The forward violet thus did I chide, Sonnet xcix. 

The little love-god, lying once asleep, Sonnet cliv. 

Then hate me when thou wilt, Sonnet xc. 

Then let not winter's ragged hand deface, Sonnet vi. 

Theology, allusions to doctrines of ; the atonement, Measure for 
Measure, ii. 2 ; "Why all the souls that were," etc.; original sin, 
A Winters Tale, i. 2, " The imposition hereditary ours." 

The other two, slight air and purging fire, Sonnet xlv. 

The poor fool sat sighing, song, Othello, iv. 3. 

Thersites, a " deformed and scurrilous Grecian," character in 
Troilus and Cressida, first appearing in ii. 1. 

" The character of Thersites, in particular, well deserves a more 
careful examination, as the Caliban of demagogic life ; the admi- 
rable portrait of intellectual power deserted by all grace, all moral 
principle, all not momentary impulse — just wise enough to detect 
the weak head, and fool enough to provoke the armed fist of his 
betters ; one whom malcontent Achilles can inveigle from malcon- 
tent Ajax, under the one condition that he shall be called on to do 
nothing but abuse and slander, and that he shall be allowed to abuse 



366 INDEX TO SHAKSPERE'S WORKS. 

as much and as purulently as he likes, that is, as he can ; in short, a 
mule, quarrelsome by the original discord of his nature — a slave by 
tenure of his own baseness — made to bray and be brayed at, to de- 
spise and be despicable." — Coleridge. 

" From the rest, perhaps the character of Thersites deserves to be 
selected (how cold and school-boy a sketch in Homer !) as exhibiting 
an appropriate vein of sarcastic humour amid his cowardice, and 
a profoundness of truth in his mode of laying open the foibles of 
those about him, impossible to be excelled." — Godwin. 

Allusion to Thersites, Cymbeline, iv. 2. 

Theseus, Duke of Athens, character in the Midsummer-Night's 
Dream, introduced in the first scene. The festivities are to grace 
his marriage with Hippolyta. 

He " is Shakspere's early ideal of a heroic warrior and man of 
action. His life is one of splendid achievement and of joy ; his love 
is a kind of happy victory, his marriage a triumph. From early 
morning, when his hounds, themselves heroic creatures, fill the val- 
ley with their ' musical confusion ' until midnight, when the Athe- 
nian clowns end their ' very tragical mirth ' with a Bergomask 
dance, Theseus displays his joyous energy and the graciousness of 
power." — Dowden. 

Shakspere, as usual, does not attempt to follow the classic story 
of Theseus, or give a classic setting to the characters whose names 
he borrows. Allusion to the perjury of Theseus, his desertion of 
Ariadne, Two Gentlemen of Verona, iv. 4. 

Thessaly, the boar of, Antony and Cleopatra, iv, 11 or 13. 
Killed by Meleager. 

Thetis, mother of Achilles, Troilus and Cressida, i. 3. 

They that have power to hurt and will do none, Sonnet 
xciv. 

Thief, the Egyptian. See Thy amis. 

Thief (thieves), every man's apparel fits, Measure for Measure, 
iv. 2 ; called St. Nicholas's clerks, /. Henry IV., ii. 1; false to one 
another, 1. Henry IV, ii. 2 ; doth fear each bush, III. Henry VI., v. 
6 ; afraid to keep, Troilus and Cressida, ii. 2 ; the sun, moon, sea, 
earth, and all things are, Timon of Athens, iv. 3, " Nor on the beasts," 
etc. ; which is the, King Lear, iv. 6 ; what simple, brags of his own 
attaint, Comedy of Errors, Hi. 2. 

Thievery, an honourable kind of. Two Gentlemen of Verona, 
iv. 1; he will steal an egg out of a cloister, AIVs Well that Ends 
Well, iv. 3 ; of injurious time, Troilus and Cressida, iv. 4. 

Thin, too, Henry VIII, v. 3. 

Thine eyes I love, and they, as pitying me, Sonnet cxxxii. 



INDEX TO SHAKSPERE'S WORKS. 367 

Things, ill-got, have bad success, III. Henry VI, ii. 2 ; 
bad begun, Macbeth, Hi. 2. 

Thinking, makes good or bad, Hamlet, ii. 2 ; too much, makes 
dangerous, Julius Cmsar, i. 2. 

Thisbe, character in the play acted before the duke in v. 1 of 
the Midsum?ner-Night's Dream. The part is taken by Flute. Allu- 
sions to, Merchant of Venice, v. 1 ; Romeo and Juliet, ii. 4. 

Thomas, a friar in Measure for Measure, introduced in i. 4- 

Thorn-bush, in the moon, Midsummer-Night's Dream, v. 1. 

Those hours that with gentle work did frame, Son- 
net v. 

Those lines that I before have writ do lie, Sonnet cxv. 

Those lips that love's own hand did make, Sonnet cxlv. 

Those parts of thee that the world's eye doth view, 
Sonnet Ixix. 

Those pretty wrongs that liberty commits, Sonnet xli. 

Thou, use of (an assumption of superiority by the speaker), 
Twelfth Night, Hi. 2, " If thou thoust him." 

Thou art as tyrranous so as thou art, Sonnet cxxxi. 

Thou blind fool, love, Sonnet cxxxvii. 

Thought, the slave of life. I. Henry IV., v. 4 / that keeps the 
roadway, II. Henry IV., ii. 2 ; sessions of sweet silent, Sonnet xxx. ; 
annihilates distance, Sonnet xliv ; quickness of, Henry V., i., chorus; 
the quick forge and working house of, Henry V., v., chorus. 

Thought(s), Heaven make you better than your, Merry Wives 
of Windsor, Hi. 3 ; are no subjects, Measure for Measure, v. 1 ; a 
woman's, As You Like It, iv. 1; in solitude, Richard II, v. 5; 
like unbridled children, Troilus and Cressida, Hi. 2 ; murder in, 
fantastical, Macbeth, i. 3; in repose, Macbeth, ii. 1; our worser, 
Heaven made, Antony and Cleopatra, i. 2 ; give no unproportioned, 
his act, Hamlet, i. 3 ; our, are ours ; their ends, none of our own, 
Hamlet, in. 2 ; exciting, Henry VIII, Hi. 2 ; sky-aspiring and am- 
bitious, Richard II, i. 3 ; to thick the blood, Winter's Tale, i. 2 ; 
whirled like a potters wheel, I. Henry VI, i. 4. 

Thrasonical (boastful), Love's Labour's Lost, v. 1 ; As You Like 
It, v. 2. Thraso was the name of a boastful, swaggering soldier in 
Terence's " Eunuchus." 

Threats, The Tempest, i. 2, " If thou more murmurest," etc. ; As 

You Like It, v, 1 ; A Winter's Tale, Hi. 2 ; I Henry VI, ii. 4, " I'll 

note you," etc. ; Hamlet, i. 4,' v. 1; King Lear, i. 4 ; Othello, ii. 3, 

"He that stirs next," etc.; Antony and Cleopatra, ii. 5, "Hence, 

32 



368 INDEX TO SHAKSPERE'S WORKS. 

horrible villain," etc. ; Richard III., i. 2 ; iv. 4 ; I. Henry VI, i. 2 ; 
III. Henry VI, ii. 1 ; Romeo and Juliet, v. 3. 

Three farthings, look where, goes. King John, i. 1. Allusion 
to a thin silver coin having the head of Elizabeth on one side and a 
rose on the other. 

Three Pile, Master, a merchant mentioned in Measure for 
Measure, iv. 3. 

Threnos, The Phoenix and the Turtle. 

Thrift, French, the humour of the age, Merry Wives of Wind- 
sor, i. 3 ; called interest — is blessing, Merchant of Venice, i. 3 ; the 
funeral baked meats do coldly furnish forth the marriage tables, 
Hamlet, i . 2. 

Throngs, foolishness of, Measure for Measure, ii. 4> 

Thrummed hat, a, Merry Wives of Windsor, iv. 2. One made 
of weavers' thrums. 

Thumb, biting the, an insult, Romeo and Juliet, i. 1 ; pricking 
of the, indicates the approach of something evil, Macbeth, iv. 1. 

Thumb-ring, an alderman's, I. Henry IV., ii. 4. 

Thunder, how great men would use, Measure for Measure, ii. 2 ; 
tears the cloudy cheeks of Heaven, Richard II, Hi. 3 ; appeal to, 
King Lear, Hi. 2 ; thunder-bearer, darter, or master (Jove), Lear, ii. 4 ; 
Cymbeline, v. 4 ; Troilus and Cressida, ii. 3. See Storm and Tempest. 

Thunderbolt, if I had a, in mine eye, As You Like It, i. 2. 

Thunder-stone, the, Othello, v. 2 ; Cymbeline, iv. 2. 

Thunder-storms, The Tempest, Hi. 3 ; v. 1; Julius Ccesar, i. 
3 ; Macbeth, i. 1. 

Thurio, character in the Two Gentlemen of Verona, introduced 
in ii. 4, " a foolish rival to Valentine," who falls an easy victim to 
the scheme of Proteus. 

Thus can my love excuse the slow offence, Sonnet li. 

Thus is his cheek the map of days outworn, Sonnet Ixviii. 

Thyamis, an Egyptian robber-chief, who killed, or attempted to 
kill, his mistress before he was slain by his enemies, spoken of by 
the duke in Twelfth Night, v. 1. 

Thy bosom is endeared with all hearts, Sonnet xxxi. 

Thy gift, thy tables, are written in my brain, Sonnet 
cxxii. 

Thy glass will show thee how thy beauties wear, Sonnet 
Ixxvii. 

Thyreus, character in Antony and Cleopatra, introduced in Hi. 
12, a friend of Caesar ; his message and whipping, Hi. 11 or 13. 



INDEX TO SHAKSPERE'S WORKS, 369 

Tib and Tom, All's Well that Ends Well, ii. 2. Jack and 
Jill. 

Tiber, the troubled, Julius CcBsar, i. 1 ; swum by Cassius and 
Caesar, Julius Ccesar, i. 2. 

Tickle-apt (dangerous to touch), Coriolanus, Hi. 2. 

Tide, a, in the affairs of men, Julius Ccesar, iv. 3 ; death sup- 
posed to occur at turn of the, Henry V., ii. 3. 

Tides, high (times to be observed), King John, Hi. 1 ; governed 
by the moon, I. Henry 1 V., i. 2 ; three, without ebb, ominous, II. 
Henry IV., iv. 4. 

Tiger, a, raging in a storm, Troilus and Cressida, i. 3. 

Tiger, the, name of an inn, Comedy of Errors, Hi. 1. 

Tile, the next that falls, AIVs Well thatEnds Well, iv. 3. Allu- 
sion, perhaps, to the story of a woman who laughed at a prophecy 
that she should die before her companions, and was immediately 
killed by a falling tile. 

Tilley-valley (fudge), Twelfth Night, ii. 3; II. Henry IV., 
ii. 4. 

Tilth (land ready to sow), Measure for Measure, iv. 1. 

Timandra, a mistress to Alcibiades, character in Timon of Ath- 
ens, introduced in iv. 3. 

Time, goes upright, The Tempest, v. 1 ; sweet benefit of, Two 
Gentlemen of Verona, ii. 4,' nurse of all good, Two Gentlemen of 
Verona, Hi. 1 ; master of men, Comedy of Errors, ii. 1 ; a bankrupt, 
Comedy of Errors, iv. 2; cormorant, Love's Labour's Lost, i. 1; 
haste of, decides, Love's Labour's Lost, v. 2 ; hath not so dried, 
Much Ado about Nothing, iv. 1 ; slowness of, Midsummer-Night's 
Dream, i. 1 ; travels in divers places, As You Like It, Hi. 2 ; the 
old, As You Like It, iv. 1 ; use the present, All's Well that Ends 
Well, v. 3 ; Richard III., iv. 1; Hamlet, iv. 7 ; the whirligig of, 
Twelfth Night, v. 1 ; wasted, Twelfth Night, Hi. 1 ; Richard II., v. 5 ; 
must have a stop, 1. Henry IV., v. 4; hath a wallet wherein he 
puts alms for oblivion, Troilus and Cressida, Hi 3 ; like a fashion- 
able host, Troilus and Cressida, Hi. 3 ; old common arbitrator — 
past and to come, Troilus and Cressida, iv. 5 ; eyes and ears for the, 
Coriolanus, ii. 1 ; and the hour, Macbeth, i. 3 ; the last syllable of, 
Macbeth, v. 5 ; the, out of joint, Hamlet, i. 5 ; modifies love, Hamlet, 
iv. 7 or 4; shall unfold what plaited cunning hides, King Lear, 
i. 1 ; men are as the, King Lear, v. 3 ; king of men, Pericles, ii. 3 ; 
waste not, Venus and Adonis, I. 129 ; ravages of, Sonnets, v., ix., 
xii., xv„ xvi., Ix., Ixiv., Ixv., c. ; defeated by verse, Sonnet, xix. ; 



370 INDEX TO SHAKSPERE 'S WORKS. 

wasted, Sonnet, xxx. ; thievish progress of, Sonnet, Ixvii. ; changes 
of, Sonnet, cxv. ; love not the fool of, Sonnet, cxvi. ; defied, Sonnet, 
cxxiii. ; misshapen, Lucrece, I. 925 ; office and glory of, Lucrece, I. 
936 ; slow to watchers, Lucrece, I. 1573. See Life. 

Time, as Chorus, enters and speaks in A Winter's Tale, iv. 1, 
explaining that sixteen years have passed since the last act, during 
which time Perdita has grown up as the shepherd's daughter and 
Florizel has become a man. This speech is judged not to be by 
Shakspere, and has been attributed to Chapman. 

Timeless (untimely), Richard III., i. 2, and elsewhere. 

Times, wild, II. Henry IV.. i. 1; evil, Macbeth, iv. 3. 

Time-serving, King John, Hi. 1 ; King Lear, ii. 4,' Measure 
for Measure, v. 1 ; Twelfth Night, ii. 3. 

Timidity. See Cowardice. 

Timon, a noble of Athens, introduced in i. 1, where his gen- 
erosity is exhibited and praised; his extravagance in liberality, 
ii. 1, 2 ; confidence in his friends, ii. 2 ; they fail him, Hi. 1-4; 
his last banquet, Hi. 6 ; he leaves Athens, iv. 1 ; in the cave, iv. 3 ; 
his death and epitaph, v. 3, 4. Excessive and immoderate in every- 
thing, Timon passes from his lavish liberality and belief in the vir- 
tue of all mankind to excessive distrust and hatred, forsakes the 
haunts of men, and hurls revilings and curses at all with little dis- 
crimination. 

" But Timon can only rage and then die. His rage implies the 
elements of a possible nobleness in him ; he cannot acclimatize him- 
self, as Alcibiades can, to the harsh and polluted air of the world ; 
yet the rage also proceeds from a weakness of nature." — Dowden. 

*' Insanity arising from pride is the key to the whole character ; 
pride indulged manifesting itself indirectly in insane prodigality ; 
pride mortified, directly in insane hatred." — Maginn. 

Allusion to " Critic Timon," Love's Labour's Lost, iv. 3. 

Timon of Athens, a play first published in the folio of 1623, 
and supposed to have been written within the period from 1602 to 
1608. The sources whence the material was drawn were Plutarch's 
" Life of Marcus Antonius," and Lucian's dialogue " Timon, or the 
Man-Hater," and perhaps an old play that has been found in 
manuscript, and is supposed to date from 1600 or earlier, though it 
is very doubtful whether Shakspere had ever seen it. The critics 
are generally agreed that a large portion of the play is from the 
hand of some other writer than Shakspere, who was either a co- 
labourer with him, wrote a play that Shakspere took up and altered, 
or filled out a partly finished and abandoned work of his. The 



INDEX TO SHAKSPERE'S WORKS. 371 

parts not his are supposed to be the greater part of i. 1 after Ape- 
mantus enters, and the remainder of the act ; the passage in ii. 
2, in which the fool appears ; the greater part of Act Hi., though 
Mr. White attributes the latter part of the first scene to Shakspere ; 
the latter part of the speech of the steward in iv. 2 ; the third scene 
in Act v., and perhaps the second. The time of the drama is that 
of the Peloponnesian war, b. c. 431-404. 

Tinct (tincture, the grand elixir of the alchemists), All's Well 
that Ends Well, v. 3. 

Tinkers, song of, A Winter's Tale, iv. 2 or 3. 

Tire (to feed ravenously), III. Henry VI., i. 1 ; Cymbeline, in. 
If. ; Venus and Adonis, I. 56 ; Timon of Athens, Hi. 6. 

Tired with all these, for restful death I cry, Sonnet Ixvi. 

Tires, different kinds of, Merry Wives of Windsor, Hi. 3. 

'Tis better to be vile than vile esteemed, Sonnet cxxi. 

Titan (the sun), I. Henry IV., ii. 4; Cymbeline, Hi. 4; Romeo 
and Juliet, ii. 3 ; Venus and Adonis, I. 177. 

Titania, queen of the fairies, introduced in ii. 1, Midsummer- 
Nighfs Dream, the same character as Queen Mab. The name 
Titania is adopted from Ovid, who uses it for Diana. See Fairies. 

Tithe-tilth, Measure for Measure, iv. 1, end. 

Titinius, a friend of Brutus in Julius Cmsar, appears in iv. 2 ; 
dies on the sword of Cassius, v. 3. 

Title(s), of the king, the, I. Henry IV., iv. 2, end; bought too 
dear, a, I. Henry IV., v. 3 ; Titus Andronicus, i. 2 ; ii. 5 ; Troilus 
and Cressida, v. 11 ; Cymbeline, Hi. 4 / Romeo and Juliet, ii. 3 ; 
I. Henry VI., iv. 7 ; like a giant's robe upon a dwarfish thief, Mac- 
beth, v. 2. 

Title-leaf, a brow like that of a tragedy, II. Henry IV, i. 1. 

Titus, servant of one of the creditors of Timon of Athens, in- 
troduced in Hi. 4' 

Titus Andronicus, character in the play of that name, a noble 
Roman, and general of an army sent against the Goths. He first 
appears in Act i., scene 1 or 2, having returned with prisoners and 
the bodies of his slain sons, and recommends Saturninus as emper- 
or; pleads for his sons and gives his hand for them, Hi. 1; his 
ravings, Hi. 2; iv. 3 ; his letters to the gods, iv.3, 4; kills Tamo- 
ra ? s sons, v. 2 ; kills Lavinia and Tamora, v. 3 ; is killed by Satur- 
ninus, v. 3. 

Titus Andronicus, a tragedy supposed to have been printed as 
early as 1594, though no edition earlier than one of 1600 is known to 



372 INDEX TO SHAKSPERE'S WORKS. 

be now in existence. It is known to have been very popular on 
the stage. Many critics held the opinion that it was not Shak- 
spere's, basing the opinion mainly on the repulsive and inartistic 
brutality of the plot ; some think that he may have been the author 
of some passages, or have touched up the whole play. Coleridge re- 
jects it on the evidence of measure, though he thinks it not im- 
probable that some passages were written by Shakspere. Others, 
again, believe the play to be mainly his own, and suppose it to be 
his first tragedy, written when his powers were undeveloped in that 
direction, and that he may possibly have had one or more co-labour- 
ers who introduced the Latin quotations. Its date is fixed between 
1585 and 1590 by an allusion to it in Ben Jonson's " Bartholomew 
Fair." The incidents are taken from an old mediaeval story. 

" The incidents and revolutions of fortune are horrible in the 
highest degree ; and in this respect the play as much surpasses Mar- 
lowe's well-known pieces of violence and rage as it is superior to 
them in tragic energy and moral earnestness. The most fearful 
crimes are rapidly accumulated with steadily advancing enormity. 
When we think we have reached the summit of these most unnatural 
cruelties and vices, the next scene suddenly opens to our view a still 
higher ascent. The characters are sketches done with the coarsest 
touches and darkest colouring. . . . That, nevertheless, this drama 
is rich in isolated beauties, profound thoughts, and striking peculi- 
arities — Shaksperean imagery which like lightning flashes over and 
illuminates the whole piece, and that single scenes are even deeply 
affecting and highly poetical — is generally admitted and requires no 
proof." — Ulrici. 

To, used as an augmentative of a verb, Merry Wives of Windsor, 
iv. 4. To pinch, to bepinch, or cover with pinches. Spenser and 
Milton use it with all prefixed. 

Toad, the jewel in the head of the, As You Like Ii, ii. 1. This 
stone was supposed to possess medicinal virtue ; changed eyes with 
the lark, Romeo and Juliet, Hi. 5 ; used by witches, Macbeth, iv. 1 ; 
paddock, Macbeth, i. 1 ; called poisonous, As You Like It, ii. 1 ; 
Richard 7/7., *, 2, 3. 

Toasts and butter, 7. Henry IV., iv. 2. Cockneys; called 
eaters of buttered toasts. 

Tod, a (twenty-eight pounds of wool), A Winter's Tale, iv. 2 or 3. 

Tokens, the Lord's, plague-spots so called, Love's Labour's Lost, 
v. 2 ; tokened pestilence, Antony and Cleopatra, Hi. 10; death- 
tokens, Troilus and Cressida, ii. 3. 

Toledo, archbishopric of, desired by Wolsey, Henry VIII., ii L 
The richest see in Europe. 



INDEX TO SHAKSPERE'S WORKS. 373 

Toll, All's Well that Ends Well, v. 3. Pay toll for, set up to 
be bought ; the bee, tolling from every flower, II. Henry IV., iv. Jj.. 

Tom, poor, or Tom o' Bedlam, King Lear, i. 2 ; Hi. 4. 

Tomb, if a man do not erect his own, Much Ado about Nothing, 
v. 2; fame registered on the, Love's Labour's Lost, i. 1; epitaphs 
on. Much Ado about Nothing, iv. 1 ; v. 1 ; Henry V., i. 2. See Grave. 

To me, fair friend, you never can be old, Sonnet civ. 

To-morrow creeps in this petty pace from day to day, Macbeth; 
v. 5 ; is St. Valentine's day, song, Hamlet, iv. 5 or 2. 

Tomyris, Scythian, I. Henry VI, ii. 3. 

Tongs and bones, for music, Midsummer-Night's Dream, iv. 1. 

Tongue(s), drowned in sack, The Tempest, Hi. 2 ; a man that 
cannot win a woman with, Two Gentlemen of Verona. Hi. 1 ; far 
from the heart, Measure for Measure, i. 5 ; the slanderer's, Measure 
for Measure, Hi. 2 ; losing the, a penalty, Love's Labour's Lost, i. 
1; swiftness of, Much Ado about Nothing, i. 1; Hi. 2; weights 
upon the, As You Like It, i. 2 ; an ungoverned, All's Well that Ends 
Well, ii. 4, " Many a man's tongue shakes out his master's undo- 
ing;" an officious, All's Well that Ends Well, iv. 1; stopping a 
woman's, A Winter's Tale, ii. 3 ; fellows of infinite, Henry V., v. 2 ; 
charm (silence) thy, II. Henry VI, iv. 1 ; engine of thoughts, Titus 
Andronicus, Hi. 1 ; blisters on the, for falsehood, A Winter's Tale, 
ii. 2 ; Timon of Athens, v. 1; in trees, As .You Like It, ii. 1; of 
dying men, enforce attention, Richard II., ii. 1 ; of the bringer of 
ill news, 77. Henry I V., i. 1 ; speaking is for beggars, Troilus and 
Cressida, Hi. 3 ; a swift, Comedy of Errors, i. 1 ; be not thy tongue 
thy own shame's orator, Comedy of Errors, Hi. 2. See Words. 

Tongues (languages), I would I had bestowed the time in the, 
Twelfth Night, i. 3. 

Tool(s), The Tempest, ii. 1, " They take suggestion as a cat laps 
milk," etc. ; Lepidus a, Julius Cmsar, iv. 1. 

Toothache, the, Much Ado about Nothing, Hi. 2 ; v. 1. It 
was supposed to be caused by a worm that gnawed a hole in the 
tooth ; he that sleeps feels not, Cymbeline v. 4> 

Topas, Sir, a curate, Twelfth Night, iv. 2. 

Topless (supreme), Troilus and Cressida, i. 3. 

Torches, virtues like, Measure for Measure, i. 1. 

Torfin. See Caithness. 

Torments, by magic art, The Tempest, iv. 1. 

Tortive (twisted), Troilus and Cressida, i. 3. 

Tortoise, a, Romeo and Juliet, v. 1 ; Caliban a, The Tempest, i. 2. 



374 INDEX TO SHAKSPERE'S WORKS. 

Tortures, of a tyrant, A Winter's Tale, Hi. 2 ; described by 
Autolycus, iv. 3 or 4, near end ; death by, Cymbeline. iv. 4. 

Toryne, taken by Caesar, Antony and Cleopatra, Hi. 7. 

To shallow rivers, song by Christopher Marlowe, Merry Wives 
of Windsor, Hi. 1. 

Touch, play the, Richard III., iv. 2 ; to test as by touchstone; 
of hearts, Timon of Athens, iv. 3 ; of the king, for disease, Macbeth, 
iv. 3 ; one touch of nature makes the whole world kin, Troilus and 
Cressida, Hi. 3. 

Touchstone, the clown in As You Like It, introduced in i. 2. 

" Touchstone is the daintiest fool of the comedies, and when we 
compare him with the clowns of the ' Comedy of Errors ' or the 
' Two Gentlemen of Verona,' we perceive how Shakspere's humour 
has grown in refinement." — Dowden. 

" He is a genuine old English clown in the Shaksperean form, a 
fool with the jingling cap and bells, one who is and wishes to be a 
fool ; the same personification of caprice and ridicule, and with the 
same keen perception of the faults and failings of mankind, as 
Jaques ; but a fool with his own knowledge and consent, and not 
merely passive but active also. He speaks, acts, and directs his 
whole life in accordance with the capricious folly and foolish capri- 
ciousness which he considers to be the principle of human exist- 
ence." — Ulrici. 

Tournament, a, Pericles, ii. 2. 

Tours, II. Henry VI, i. 1. 

Touse (to pull, tear), Measure for Measure, v. 1. 

Toward (at hand, coming), Romeo and Juliet, 1. 5 ; Timon of 
Athens, Hi. 6 ; King Lear, iv. 6 ; Antony and Cleopatra, ii. 6. 

Tower Hill. See Limehouse. 

Tower of London, the, scene of a part of Richard III. Julius 
Caesar's ill-erected (for ill purposes), Richard II, v. 1. Tradition 
says that Caesar built the original part of the tower. It is again 
spoken of in Richard III, Hi. 1. 

Tower (to soar, a term in falconry), King John, v. 2 ; II. Henry 
VI, ii. 1 ; Macbeth, ii. 4> 

Towers, cloud-capped, The Tempest, iv. 1, air-braving, I. Henry 
VI, iv. 2. 

Towton, in the West Riding of Yorkshire, battle of (March 29, 
1461), III Henry VI, ii. 3-6. 

Toy (whim), Romeo and Juliet, iv. 1 ; I. Henry VI, iv. 1, 

Toys (idle rumours), King John, i. 1, and elsewhere. 

Tract (course), Henry VIII, i. 1. 

Trade (road or way), Henry VIII, v. 1. 



INDEX TO SHAKSPERE'S WORKS, 375 

Tradition, respect for, thrown away, Richard II, Hi. 2. 

Tragedian, counterfeit the, Richard III, Hi. 5. 

Train, of a gown, worth of, II. Henry VI, i. 3. 

Traitor(s), all, profess loyalty, As You Like It, i. 3 ; plot 
against a, All's Well thai Ends Well, Hi. 6 ; iv. 1 ; a place in the 
world for — we are our own, AWs Well that Ends Well, iv. 3 ; treat- 
ment of one deemed a, Richard II, Hi. 1 ; curse on, Richard II., 
Hi. 2 ; treatment of, Henry V., ii. 2 ; to his country, a, Coriolanus, 
v. 3 ; Macbeth, iv. 2 ; a toad-spotted, King Lear, v. 3 ; & passing, 
III Henry VI, v. 1 ; a giant, Henry VIII, i. 2 ; in a worse case 
than the betrayed, Cymbeline, Hi. 4. See Judas. 

Traject (ferry). Merchant of Venice, Hi. 4- 

Trammel (to tie), Macbeth, i. 7. 

Trances, Romeo and Juliet, iv. 1, 3 ; v. 3 ; Othello, iv. 1 ; Peri- 
cles, Hi. 2. 

Tranio, a servant of Lucentio in the Taming of the Shrew, 
who assumes his master's name and carries out the part with great 
cleverness, introduced in i. 1. 

Translation, of Bottom, Midsummer-Night's Dream, Hi. 1 ; out 
of honesty into English, Merry Wives of Windsor, i. 3. 

Transmigration, of souls, allusions to the doctrine of, Mer- 
chant of Venice, iv. 1 ; As You Like It, Hi. 2, " since Pythagoras's 
time ; " Twelfth Night, iv. 2. 

Trappings, of woe, Hamlet, i. 2. 

Traps, some Cupid kills with, Much Ado about Nothing, Hi. 1. 

Trash (to check, a hunting-word), The Tempest, i. 2. 

Travel, advantages of, Two Gentlemen of Verona, i. 1, 3 ; mel- 
ancholy induced by, As You Like It, iv. 1 ; need of, to persons of 
rank, King John, i. 1; company in, Richard II, ii. 3 ; all places 
that the eye of heaven visits are to the wise man ports and happy 
havens, Richard II, i. 3. 

Traveller(s), lying, The Tempest, Hi. 3 ; Love's Labour's Lost, 
i. 1; AWs Well that Ends Well, ii. 5 ; must be content, As You 
Like It, ii. 4 / marks of — sell their own lands to see other men's, 
As You Like It, iv. 1 ; satire on a — Faulconbridge, Merchant of 
Venice, i. 2 ; Henry VIII, i. 3. 

Travers, a retainer of Northumberland in II Henry 1 V., intro- 
duced in i. 1. 

Traverse, Othello, i. 3, and elsewhere. A fencing term, mean- 
ing, to take a posture of opposition. 

Tray, Blanche and Sweetheart, King Lear, Hi. 6. 



376 INDEX TO SHAKSPERE'S WORKS. 

Tray-trip (an old game, played with cards and dice), Twelfth 
Night, ii. 5. 

Treachery, Two Gentlemen of Verona, ii. 6; Hi. 1; of Parolles, 
All's Well that Ends Well, iv. 1, 3 ; composed and framed of, Much 
Ado about Nothing, v. 1; of the dauphin, King John, v. 4; see 
Melun ; charge of, 1. Henry IV., iv. 3, " Then to the point," etc. ; 
of John of Lancaster, II. Henry IV., iv. 2 ; of Judas, III. Henry 
VI, v. 7 ; in friends, Henry V., ii. 2 ; of the conspirators, Julius 
Coesar, v. 1 ; killed with one's own, Hamlet, v. 2 ; of Goneril and 
Regan, King Lear, v. 1 ; proposed to Pompey, Antony and Cleo- 
patra, ii. 7 ; curses on supposed, Cymbeline, iv. 2, " To write and 
read," etc. ; monstrous, I. Henry VI, iv. 2. 

Treason, is not inherited, As You Like It, i. 3 ; accusations of, 
Richard II, i. 1 ; v. 2 ; never trusted, I. Henry IV., v. 2 ; pardoned 
rebels arrested for, II. Henry IV., iv. 2 ; and murder — aggravated, 
Henry V., ii. 2 ; accusations of, King Lear, Hi. 7 ; arrest for, King 
Lear, v. 3 ; felt most by the traitor, Cymbeline, Hi. 4 ; condemned 
to die for, but no traitor, I. Henry VI, ii. 4. 

Treasure, hidden, is fretted by rust, Venus and Adonis, I. 767; 
of Enobarbus, Antony and Cleopatra, iv. 6. 

Treaties, King John, v. 2 ; Henry VIII, i. 1; Antony and 
Cleopatra, ii. 6. 

Trebonius, one of the conspirators in Julius Ccesar, first ap- 
pears in ii. 1. 

Tree(s), shall be books, As You Like It, ii. 2 ; a rotten, As You 
Like It, ii. 3 ; o'ercome with moss, and baleful misletoe, Titus An- 
dronicus, ii. 3 ; that have outlived the eagle, Timon of Athens, iv. 3. 

Trencher-friends, Timon of Athens, Hi. 6. 

Trencher-knight (parasite), Love's Labour's Lost, v. 2. 

Trencher-man, a valiant. Much Ado about Nothing, i. 1. 

Trent, the third river of England, to straighten the channel of, 
I. Henry IV., Hi. 1. 

Tressel, an attendant of Lady Anne in Richard III, i. 2. 

Trial(s), Merchant of Venice, iv. 1 ; Measure for Measure, v. 1 ; 
Othello, i. 3 ; Comedy of Errors, i. 1 ; v. 1 ; of Hermione, A Win- 
ter's Tale, Hi. 2 ; challenge to knightly, Richard II, i. 1, 3 ; by 
combat, II. Henry VI, ii. 3; King Lear, v. 3 ; of persistence, Troilus 
and Cressida, i. 3 ; of Queen Katherine, Henry VIII., ii. 4/ trial- 
fire, Merry Wives of Windsor, v. 5. 

Tribulation of Tower Hill, Henry VIII, v. 4. See Lime- 
house and Puritans. 



INDEX TO SHAKSPERE'S WORKS. 377 

Tribunate, advised abolition of the, Coriolanus, Hi. 1. 

Tribunes, hardness of the, Titus Andronicus, Hi. 1 ; granted to 
the people, Coriolanus, i. 1 ; abused, Coriolanus, ii. 1 ; fear of, Co- 
riolanus, iv. 6 ; v. 1. 

Tribute, to the King of Naples from the Duke of Milan, The 
Tempest, i. 2 ; demanded of Britain by the Romans, Cymbeline, ii. 
Jf. ; paid, Cymbeline, Hi. 1 ; v. 5. 

Trick(s), fantastic, Measure for Measure, ii. 2 ; Falstaff's, I. 
Henry IV., ii. 4,' of gentlemen, AWs Well that Ends Well, v. 3. 

Tricksy spirit, Ariel, The Tempest, v. 1. 

Trifle (unsubstantial thing), The Tempest, v. 1. 

Trifles, a snapper-up of unconsidered, A Winters Tale, iv. 2 or 
3 ; light as air, Othello, Hi. 3. 

Trifling, with serious things, Cymbeline, iv. 2. 

Trigon, the fiery, II. Henry IV., ii. 4. A term in astrology. 
When the three superior planets met in one of the three signs of the 
zodiac, Aries, Leo, or Sagittarius, they formed a fiery trigon, or tri- 
angle. 

Trinculo, a jester, character in The Tempest, introduced in ii. 
2. He conspires with Caliban and Stephano to kill Prospero and 
make Stephano king. 

Trip and go, a morris-dance, Love's Labour's Lost, iv. 2. " A 
proverbial expression for ' I dare not tarry.' " 

Triple (third), Airs Well that Ends Well, i. 1; Antony and 
Cleopatra, i. 1. 

Triton, of the minnows, a, Coriolanus, Hi. 1. 

Triumph, a Roman, Coriolanus, ii. 1 ; Caesar's, Julius Cozsar, 
i. 1; honour of gracing a, Antony and Cleopatra, v. 2 ; an ale-house 
guest, Richard II, v. 1. 

Triumviry, of lovers, a, Love's Labour's Lost, iv. 3. 

Troilus, son of Priam, King of Troy, introduced in the first 
scene of Troilus and Cressida ; described, i. 2 ; iv. 5 ; his despair, 
i. 1; discovers Cressida's falseness, v. 2 ; fights with Diomedes, v. 4> 
Coleridge says of his character : 

" This [Cressida's vehement passion and shameless inconstancy] 
Shakspere has contrasted with the profound affection represented in 
Troilus and alone worthy the name of love : affection, passionate 
indeed, swollen with the confluence of youthful instincts and youth- 
ful fancy, and glowing in the radiance of hope newly risen — in short, 
enlarged by the collective sympathies of nature, but still having a 
depth of calmer element in a will stronger than desire, more entire 
than choice, and which gives permanence to its own act by convert- 



378 INDEX TO SHAKSPERE'S WORKS. 

ing it into faith and duty. Hence, with excellent judgment, and 
with an excellence higher than mere judgment can give, at the close 
of the play, when Cressida has sunk into infamy below retrieval and 
beneath hope, the same will, which had been the substance and basis 
of his love, while the restless pleasures and passionate longings, like 
sea-waves, had tossed but on its surface — this same moral energy is 
represented as snatching him aloof from all neighbourhood with her 
dishonour, from all lingering fondness and languishing regrets, while 
it rushes with him into other and nobler duties, and deepens the 
channel which his heroic brother's death had left empty for its col- 
lected flood." 

Allusions to Troilus : and Cressid. Merchant of Venice, v. 1 ; 
As You Like It, iv. 1 ; Cressida to this, Twelfth Night, Hi. 1 ; Much 
Ado about Nothing, v. 1 ; in a painting, Lucrece, I. i486. 

Troilus, name of a spaniel, Taming of the Shrew, iv. 1. 

Troilus and Cressida was first published in a quarto edition in 
1609, probably an unauthorized edition. In the folio of 1623 it is 
placed between the histories and the tragedies, and paged with 
neither of them, perhaps because the editors shared the perplexity 
of later critics, and were in doubt as to where it should be classed. 
It is usually placed with the tragedies. Critics have also been puz- 
zled to assign the probable date or period at which the play was 
written ; the most plausible opinion is that it was first written at an 
early period and afterward rewritten when the poet's powers were in 
their full maturity, 1606 or 1607. The sources from which Shak- 
spere probably drew were Chaucer's " Troilus and Creseide ; " the 
" History of the Destruction of Troye," translated from the French 
of Raoul le Fevre by Caxton ; Chapman's translation of Homer, and 
perhaps Lydgate's " Troy Book.'' The time is that of the Trojan 
war. In characterization, in single passages of beauty and wisdom, 
and in the working up of the details, this play is classed among the 
author's best : but it is lacking in unity of interest and in apparent 
design ; so much so that some critics, notably Schlegel, have held its 
design to be a sort of ridicule of hero-worship, an ironical present- 
ment of the story of the siege of Troy, and Charles Lamb says : " Is 
it possible that Shakspere should never have read Homer, in Chap- 
man's version, at least I If he had read it, could he mean to travesty 
it in the parts of those big boobies, Ajax and Achilles f Ulysses, 
Nestor, and Agamemnon are true to their parts in the ' Iliad ; ' they 
are gentlemen, at least. Thersites, though unamusing, is fairly de- 
ducible from it. Troilus and Cressida are a fine graft upon it. But 
those two big bulks — " 

Trojan horse, allusion to the, Pericles, i. 4. 



INDEX TO SHAKSPERE'S WORKS. 379 

Trojan(s), as courtiers and soldiers, Troilus and Cressida, i. 3 ; 
Hector was but a, Love's Labour's Lost, v. 2. Play on the use of 
the word for highwaymen as in I. Henry IV., ii. 1. 

Troll-my-dames, A Winter's Tale, iv. 2 or 3. A game also 
known as pigeon-holes. 

Tropically (figuratively), Hamlet, iii. 2. 

Tropics, plants and animals of the, in Arden, As You Like It, 
iv. 3. 

Trouble. See Affliction, Sorrow. 

Trowel, laid on with a, As You Like It, i. 2. 

Troy, in Asia, scene of Troilus and Cressida; six gates of, 
prologue ; high towers of, iv. 5 ; the queen compares the uncrowned 
king to the devastated site of Troy, Richard II, v. 1 ; the burning 
of, allusion to, II Henry IV., i. 1; Hamlet, ii. 2 ; Titus Androni- 
cus, Hi. 1 ; v. 3 ; III. Henry VI, iii. 2 ; paying tribute to the sea- 
monster, Merchant of Venice, Hi. 2 ; the siege of, in a painting, 
Lucrece, I. 1367 ; song about, All's Well that Ends Well, i. 3. 

Troy, the hope of (Hector), III. Henry VI, ii. 1. 

Troy, the queen of, Titus Andronicus, i. 1 or 2. Hecuba, who 
put out the eyes of Polymnestor, King of Thrace, and killed his two 
children, in revenge for the death of her son, who was murdered by 
Polymnestor. 

Troyes in Champagne, scene of Henry V., v. 2, "a royal 
palace." 

True, 'tis, 'tis pity, Hamlet, ii. 2. 

Trumpery, The Tempest, iv. 1 ; A Winter's Tale, iv. 3. 

Trumpet(s), a visitor announced by the, Merchant of Venice, 
v. 1; sounding to battle, Richard II, iii. 3 ; III. Henry VI, ii. 2; 
Troilus and Cressida, i. 3 ; iv. 5 ; Macbeth, v. 6 ; Antony and Cleo- 
patra, iv. 8. 

Trundle-tail (a curly-tailed dog), King Lear, iii. 6. 

Trunk, a, used in a treacherous stratagem, Cymbeline, i. 6. 

Trust, begetting falsehood, The Tempest, i. 2 ; give, to but few, 
All's Well that Ends Well, i. 1; A Winter's Tale, i. 2, " I have 
trusted thee," etc. ; a simple gentleman, A Winter's Tale, iv. 3 or 
4, speech of Autolycus ; abuse of, Richard II. i. 1 ; I. Henry IV., 
v. 5 ; in innocence, II Henry VI, iv. 2 ; no use for, Antony and 
Cleopatra, v. 2. 

Truth, ill-spoken, The Tempest, ii. 1 ; is truth. Measure for 
Measure, v. 1 ; to seek, in books, Love's Labour's Lost, i. 1 ; stranger 
than fiction, Twelfth Night, iii. 4, " If this were played," etc. ; swear, 
33 



380 INDEX TO SHAKSPERE'S WORKS. 

out of England. I. Henry IV., ii. 4> tell, and shame the devil, 1. 
Henry IV., Hi. 1; thought flattery, /. Henry IV., iv. 1; Antony 
and Cleopatra, i. 2 ; a quiet breast, Richard II., i. 3 ; told by in- 
struments of darkness, Macbeth, i. 3 ; delight in, Macbeth, iv. 3 ; to 
one's self, Hamlet, i. 3 ; determination to find, Hamlet, ii. 2 ; is a 
dog that must to kennel, King Lear, i. 4; should be silent, Antony 
and Cleopatra, ii. 2 ; with beauty, Sonnet liv.; needs no colour, 
Sonnet ci. ; catches nothing but mere simplicity, Troilus and Cres- 
sida, iv. 4 ; shown in the face, Pericles, v. 1 ; loves open dealing, 
Henry VIII, Hi. 1. 

Tubal, a Jew and friend of Shylock in the Merchant of Venice, 
appears in Hi. 1, where he alternately enrages Shylock with reports 
of his daughter's extravagance, and consoles him with the news of 
Antonio's misfortunes. 

Tuck (sword, rapier), Twelfth Night, Hi. 4. 

Tuck, Friar, Two Gentlemen of Verona, iv. 1. The father con- 
fessor of Robin Hood. 

Tuition, of God, Much Ado about Nothing, i. 1. 

Tullius, Servius, Lucrece, argument. 

Tully (Marcus Tullius Cicero), murder of, II. Henry VI, iv. 1 ; 
oratory of, Titus Andronicus, iv. 1. 

Tunis, in Africa, king of, The Tempest, ii. 1. 

Turf, Peter, Taming of the Shrew, induction, 2. 

Turk(s), to turn, Much Ado about Nothing, Hi. 4; Hamlet, Hi. 
2 ; nose of, Jlacbeth, iv. 1 ; a malignant and turbaned, Othello, v. 2 ; 
base Phrygian, Merry Wives of Windsor, i. 3 ; stubborn, Merchant 
of Venice, iv. 1; defiant, As You Like It, iv. 3 ; Richard III, iii. 
5 ; tribute of, II. Henry I V., iii. 2. To turn Turk was to become a 
turn-coat. 

Turkey, the, allusions to, Twelfth Night, ii. 5 ; I Henry IV., 
H. 1 ; Henry V., v. 1. The turkey was not known in England till 
the time of Henry VIII. (1509 to 1547). 

Turlygod, poor, King Lear, ii. 3. 

Turn, a friend forever gained by one shrewd, Henry VIII, v. 2. 

Turnbull Street, or Turnmill Street (a disreputable neighbour- 
hood in London), 77. Henry I V., Hi. 2. 

Turn-coat, courtesy a, Much Ado about Nothing, i. 1. 

Turquoise ring, the, Merchant of Venice, iii. 1. This stone 
was supposed to possess magical properties : to fade or brighten ac- 
cording to the wearer's health, and to keep the peace between hus- 
band and wife, were among them. 



INDEX TO SHAKSPERE'S WORKS. 381 

Turtles (turtle-doves), A Winter's Tale, iv. 3 or 4 ; v. 3 ; Love's 
Labour's Lost, iv. 3 ; 1. Henry VI., ii. 2. 

Tutelary spirits, good or evil angels, 77. Henry IV., i. 2 ; Ju- 
lius CoBsar, Hi. 2 ; Macbeth, Hi. 1 ; Antony and Cleopatra, ii. 3. 

Tutor, to the Earl of Rutland in III. Henry VI, i. 3. He was 
a priest, Sir Robert Aspall. 

Twelfth Night, or What You Will, a comedy known to have 
been acted in 1602. The story bears a similarity to that of several 
earlier plays and novels — two Italian dramas, '* GF Inganni " (" The 
Cheats"), another entitled "GF Ingannati" ("The Deceived"), a 
Spanish play, the " Engafios " (" The Deceits "), " The Twins," by 
Bandello, and " The Historie of Apolonius and Silla," by Barnabe 
Rich, the last of which it closely resembles in the part of the four 
lovers, though Shakspere has omitted the coarseness of Rich's tale, 
added all distinctive touches to the principal characters, and intro- 
duced the humourous personages that surround them. The scene is 
laid in Illyria, according to Shakspere's habit of using the unimpor- 
tant particulars of his originals, but the titles and characters are 
English, and of his own time. Twelfth Night is one of the bright- 
est, wittiest, and at the same time sweetest, of the comedies. 

" The perfection of English comedy, and the most fascinating 
drama in the language. ... It was appreciated at an early period 
as one of the author's most popular creations. There is not only 
the testimony of Manninghan — a student at the Middle Temple, 
who saw it performed, and wrote of it in his diary — in its favour, but 
Leonard Digges, in the verses describing this most attractive of 
Shakspere's acting dramas, expressly alludes to the estimation in 
which the part of Malvolio was held by the frequenters of the 
theatre." — Halliwell-Phillipps. 

Twiggen-bottle (one covered with basket-work), Othello, i. 3. 

Twilight, morning, III. Henry VI., ii. 5. 

Twilled (brims of banks), sometimes written lilied, The Tempest, 
iv. L 

Twink, with a, The Tempest, iv. 1. 

Twins, the two Dromios and the two Antipholuses in the Com- 
edy of Errors ; Viola and Sebastian in Twelfth Night. 

Twire (to sparkle, or gleam out at intervals), Sonnet xxviii. 

Two Gentlemen of Verona, The, one of the earliest of the 
plays, is supposed to have been written about 1591, or perhaps still 
earlier. The story of Proteus and Julia resembles that of Don Felix 
and Felismena in " Diana," by George de Montemayor, which Shak- 
spere may have read in a translation by Bartholomew Yonge, pub- 



382 INDEX TO SHAKSPERE'S WORKS. 

lished in 1598, but made some years earlier ; or from a play on the 
subject, " Felix and Philomena," 1584. The scenes are laid in Ve- 
rona, Milan, and a forest on the outskirts of Mantua. Charles 
Knight thus presents the varying opinions of critics on this play : 
" Theobald tells us, ' This is one of Shakspere's worst plays.' Han- 
mer thinks Shakspere ' only enlivened it with some speeches and 
lines thrown in here and there.' Upton determines that, ' if any 
proof can be drawn from manner and style, this play must be sent 
packing, and seek a parent elsewhere.' Johnson, though singularly 
favourable in his opinion of this play, says of it, ' There is a strange 
mixture of knowledge and ignorance, of care and negligence.' Mrs. 
Lenox, who, in the best slip-slop manner, does not hesitate to pass 
judgment upon many of the greatest works of Shakspere, says, "Tis 
generally allowed that the plot, conduct, manners, and incidents of 
this play are extremely deficient.' On the other hand. Pope gives 
the style of this comedy the high praise of being 'natural and un- 
affected.* Coleridge, the best of critics on Shakspere, has no remark 
on this play beyond calling it ' a sketch.' Hazlitt. in a more elabo- 
rate criticism, follows out the same idea. Paul Dupont considers 
that this play possesses a powerful charm, which he attributes to the 
brilliant and poetical colouring of its style. He thinks, and justly, 
that a number of graceful comparisons, and of vivid and picturesque 
images, here take the place of the bold and natural conceptions 
which are the general characteristics of Shakspere's genius. In 
these elegant generalizations, M. Dupont properly recognizes the 
vagueness and indecision of the youthful poet. The remarks of A. 
W. Schlegel on this comedy are acute, as usual : It ' paints the irreso- 
lution of love, and its infidelity toward friendship, in a pleasant but 
in some degree superficial manner ; we might almost say, with the 
levity of mind which a passion suddenly entertained and as suddenly 
given up presupposes.' " 

" The piece treats of the essence and power of love, and especially 
of its influence upon judgment and habit generally, and it is not 
well to impute to it a more defined idea. The twofold nature of 
love is here at the outset exhibited with that equal emphasis and 
that perfect impartiality which struck Goethe so powerfully in Shak- 
spere's writings." — Gervinus. 

Two loves I have, of comfort and despair, Sonnet cxliv ; 
Passionate Pilgrim, ii. 

Tybalt, Juliet's cousin, introduced in *. 1 of Romeo and Juliet. 
Mercutio calls him " prince or king of cats " in ii. 4 and Hi. 1, Tybalt 



INDEX TO SHAKSPERE'S WORKS. 383 

or Tybert being the name of the cat in " Reynard the Fox." He is 
fiery and quarrelsome, forces a quarrel with Romeo and his friends, 
slays Mercutio, and is himself slain by Romeo {Hi. 1). 

Tyburn, love's, Love's Labour's Lost, iv. 3. The gallows was 
sometimes triangular. 

Type (a distinguishing mark), III. Henry VI,, i. 4. 

Typhon, roaring, Troilus and Cressida, i. 3. 

Tyranny, in the place or the person, Measure for Measure, i. 
3 ; in the use of power, Measure for Measure, ii. 2 ; accusation of, 
A Winter's Tale, ii. 3 ; innocence shall make, tremble — tortures of, 
A Winter's Tale, Hi. 2 ; murderous, II. Henry VI., Hi. 3. 

Tyrant, name of an apparition of a hound, The Tempest, iv. 1. 

Tyrant(s), must have foreign alliance, III. Henry VI, in. 3 ; 
friends of. Richard III., v. 2, 3 ; defeated, Julius Caisar, i. 3 ; Hi. 1 ; 
wills of, made the scope of justice, Timon of Athens, v. 5 ; rule of a, 
Coriolanus, ii. 1 ; Macbeth, iv. 3 ; service to a, Macbeth, v. 4 ; death 
to a, Macbeth, v. 7 ; fears and unscrupulousness of, Pericles, i. 2. 

Tyre, a city in ancient Phoenicia, scene of a part of Pericles. 

Tyrrel, Sir James, character in Richard III., first appears in iv. 
2 ; murders the princes, iv. 3. He was beheaded in 1502 as a con- 
spirator with the Earl of Suffolk, and was said to have confessed the 
murder before his death. Sir Thomas More writes that he was a 
" brave, handsome man, who deserved a better master, and would 
have merited the esteem of all men, had his virtues been as great as 
his valour." 

Ubiquity, Twelfth Night, v. 1, " Nor can there be that deity in 
my nature of here and everywhere." 

Ugliness, Comedy of Errors, iv. 2, " He is deformed," etc. ; 
Richard on his own, Richard III., i. 1, 2 ; and beauty, Cymbeline, 
i. 6 ; suggestion of, Venus and Adonis, I. 133. 

Ugly, let the, be unmarried, Sonnet xi. 

Ulysses, general of the Greeks, character in Troilus and Cres- 
sida, introduced in i. 3. 

" The speech of Ulysses in Hi. 3, when taken by itself, is purely 
an exquisite specimen of didactic morality; but when combined 
with the explanation given by Ulysses, before the entrance of Achil- 
les, of the nature of his design, it becomes an attribute of a real 
man, and starts into life. When we compare the plausible and 
seemingly affectionate manner in which Ulysses addresses himself 
to Achilles, with the key which he here furnishes to his meaning, 
and especially with the epithet ' derision,' we have a perfect eluci- 



384: INDEX TO SHAKSPERE'S WORKS. 

dation of his character, and must allow that it is impossible to 
exhibit the crafty and smooth-tongued politician in a more exact 
or animated style. The advice given by Ulysses is in its nature 
sound and excellent, and in its form inoffensive and kind ; the name, 
therefore, of ' derision ' which he gives to it marks to a wonderful 
degree the cold, self-centred subtlety of his character." — Godwin. 

Allusions to Ulysses, III. Henry VI, in. 2 ; iv. 2 ; Lucrece, I. 1394. 

TJmfrevill, Sir John, mentioned in the first scene of II. Henry 
IV., as sending news of the battle of Shrewsbury by Travers to 
Northumberland. 

Unaccommodated (uncivilized, not having the conveniences of 
life), King Lear, in. 4. 

Unaccustomed (unseemly), I. Henry VI, Hi. 1. 

Unanel'd (without extreme unction). Hamlet, i. 5. 

Unbarbed (unshaven), Coriolanus, Hi. 2. 

Unbated (without a button on the point), Hamlet, iv. 7 ; v. 2. 

Unbolted (gross), King Lear, ii. 2. 

Unbraided (undamaged), A Winter's Tale, iv. 3 or 4. 

Uncape (to throw off the dogs, so as to begin the hunt), Merry 
Wives of Windsor, Hi. 3. 

Uncertainty, of the world, King John, v. 7 ; King Lear, iv. 1. 

Uncharge (acquit, hold guiltless), Hamlet, iv. 7. 

Unclew (undo), Timon of Athens, i. 1. 

Unconfirmed (unsophisticated), Much Ado about Nothing, Hi. 3. 

Unction, extreme, death without, Hamlet, i. 5. 

Unction, that flattering, Hamlet, Hi. 4 ; a poisonous, Hamlet, 
iv. 7. 

Underling's, the fault is not in our stars, but in ourselves if we 
are, Julius Coisar, i. 2. 

Under-skinker (under-tapster), I Henry IV., ii. 4> 

Understanding, likened to a tide, The Tempest, v. 1 ; give it 
an understanding, but no tongue, Hamlet, i. 2. 

Under the greenwood tree, song, As You Like It, ii. 5. 

Undertaker (agent, overseer), Twelfth Night, Hi. 4- 

Uneath (not easily), II. Henry VI, ii. 4. 

Unexpressive (indescribable), she, the, As You Like It, Hi. 2. 

Ungained, men prize the, more than it is, Troilus and Cressida, 
i. 2, end. 

Unguem (nail), Love's Labour's Lost, v. 1. 

Unhappy (mischievous), AIVs Well that Ends Well, iv. 5. 

Unhatched practice (unripe plot), Othello, Hi. 4. 

Unhoused (unmarried), Othello, i. 2. 



INDEX TO SHAKSPERE'S WORKS. 385 

Unhouselled (not absolved), Hamlet, i. 5. 

Unicorns, The Tempest, Hi. 3 ; Julius Caesar, ii. 1; Timon of 
Athens, iv. 3. They were said to be taken by the hunter's first at- 
tracting their attention, and then running behind a tree, which the 
animal would charge against, and run its horn into, thus being held 
fast and powerless. 

Union, an (a costly pearl), Hamlet, v. 2. 

Universe, the, filled with murmur and darkness, Henry V., iv., 
chorus. 

Unkindness, love increased by, Measure for Measure, Hi. 1, 
" This forenamed maid," etc. ; the only deformity, Twelfth Night, 
Hi. 4 ; Julius Ccesar, Hi. 2, " The unkindest cut," etc. ; sharp- 
toothed, King Lear, ii. 4; cannot taint my love, Othello, iv.2; mor- 
tal to women, Antony and Cleopatra, i. 2. 

Unmannerly, Hamlet, Hi. 2 ; King Lear, i. 1 ; better be, than 
troublesome, Merry Wives of Windsor, i. 1, end. A common ex- 
pression. 

Unplausive (unapplauding), Troilus and Cressida, Hi. 3. 

Unquestionable spirit, an, As You Like It, Hi. 2. A dislike 
to being questioned. 

Unrespective (unthinking, inconsiderate), Richard 111., iv. 2. 

Unshunned (unshunnable), Measure for Measure, Hi. 2. 

Unsisting (unresisting), Measure for Measure, iv. 2. 

Untended (unprobed, neglected), King Lear, i. 4. 

Untraded oath, a (one not in common use), Troilus and Cres- 
sida, iv. 5. 

Up-spring, the swaggering, a dance, Hamlet, i. 4. 

Urchins, The Tempest, i. 2 ; Merry Wives of Windsor, iv. 4> 
Malignant fairies in the shape of hedgehogs. 

Ursula, a gentlewoman attending on Hero in Much Ado about 
Nothing, introduced in ii. 1. 

Urswick, Christopher, a priest in Richard III., appears only 
in iv. 5. He was chaplain to the Countess of Richmond and to 
Henry VII., and did much to forward the union of York and Lan- 
caster by the marriage of Henry and the Princess Elizabeth. 

Usance (interest). Merchant of Venice, i. 3. 

Use, breeds habit, Two Gentlemen of Verona, v. 4 ,' can almost 
change nature, Hamlet, Hi. 4; everything for, Romeo and Juliet, 
ii. 3, " Nought so vile," etc. ; Venus and Adonis, I. 165 ; gold put 
to, Venus and Adonis, I. 767. 

Usurer(s), complaint of being called a, Merchant of Venice, iii. 



386 INDEX TO SHAKSPERE'S WORKS. 

1; Coriolanus, i. 1; have fools for servants, Timon of Athens, ii. 2; 
the, hangs the cozener, King Lear, iv. 6. 

Usuries, the worser of two, Measure for Measure, Hi. 2. 

"Usurpation, The Tempest, i. 2 ; of a dukedom, As You Like 
It, i. 1 ; in the woods, As You Like It, ii. 1 ; must be boisterously 
defended, King John, Hi. 4 ; of Henry, I. Henry IV., iv. 3, " Then 
to the point," etc. 

TJsurper(s), The Tempest, i. 2 ; As You Like It,i . 1 ; King John, 
ii. 1 ; favour of an, Richard II. , v. 1; cares of an, II. Henry IV., 
iv. 4 ; may sway a while. III. Henry VI, Hi. 3 ; Macbeth, Hi. 6 ; 
iv. 3 ; Hamlet, Hi. 4. 

Usury. See Interest. 

Utis, iX Henry IV., ii. 4. Huitas, from the French huit, eight ; 
the space of eight days after a festival, or the eighth day, sometimes 
applied to the festival itself ; hence, a merry-making, a frolic. 

Utter (to sell), Romeo and Juliet, v. 1. 

Utterance (uttermost), Macbeth, Hi. 1 ; Cymbeline, Hi. 1. 

Vacancy, but for, the air would have gone to gaze on Cleopatra, 
Antony and Cleopatra, ii. 2 ; you bend your eye on, Hamlet, Hi. 4. 

Vail (to lower, let fall), Measure for Measure, v. 1 ; Merchant 
of Venice, i. 1; I. Henry VI, v. 3; his stomach (pride, courage), 
II. Henry IV., i. 1. 

Vain-glory, 'tis not, for a man and his glass to confer, Troilus 
and Cressida, Hi. 3. 

Valdes, a pirate, mentioned in Pericles, iv. 1 or 2. Name of an 
admiral in the Spanish Armada. 

Valentine, St., day of, Midsummer-Night's Dream, iv. 1 ; Ham- 
let, iv. 5. 

Valentine, one of the two gentlemen of Verona. He is hon- 
est, fair-minded, faithful, and somewhat obtuse. 

Valentine, a gentleman attending on the Duke in Twelfth 
Night, introduced in the first scene, plays an unimportant part. 

Valentine, a kinsman of Titus in Titus Andronicus, addressed 
in v. 2. He does not speak. 

Valeria, a noble Roman lady, friend of Virgilia, wife of Corio- 
lanus, and a character in the drama, introduced in i. 3. In Plu- 
tarch she is said to be the mover of the embassy of women, v. 3. 

Valerius, one of the outlaws by whom Silvia is taken, in the 
Two Gentlemen of Verona, v. 3. 

Valerius Publius, Lucrece, argument. 



INDEX TO SHAKSPERE'S WORKS. 387 

Valiant, the, taste death but once, Julius Ccesar, H. 2 ; the 
truly, Timon of Athens, Hi. 5. 

Validity (value), All's Well that Ends Well, v. 3 ; Twelfth 
Night, i. 1 ; King Lear, i. 1 ; Romeo and Juliet, Hi. 3. 

Valour, praised, Much Ado about Nothing, i. 1; decay of, 
Much Ado about Nothing, iv. 1, " Manhood is melted," etc. ; can- 
not carry discretion, Midsummer-Night's Dream, v. 1 ; and fear to- 
gether. All's Well that Ends Well, i. 1, " So is running," etc. ; es- 
teem of women for, Twelfth Night, Hi. 2, " For Andrew," etc. ; the 
better part of — should be rewarded, /. Henry IV., v. 4.; in adver- 
saries, I. Henry IV., v. 5; compared to Hector's, Agamemnon's, 
etc., II. Henry IV., ii. 4; no true, with self-love, III. Henry VI., 
v. 2 ; the chief virtue, Coriolanus, ii. 2 ; true, Timon of Athens, 
Hi. 5 ; dependent on the cause, King Lear, v. 1 ; when it preys on 
reason, Antony and Cleopatra, Hi. 11 or 13 ; that plucks dead lions 
by the beard, King John, ii. 1 ; careless, Troilus and Cressida, v. 5 ; 
after drinking, The Tempest, iv. 1; II. Henry IV., iv. 3; like a 
lion's, III. Henry VI., ii. 1. 

Value, is not wholly in the estimate, Troilus and Cressida, H.2. 

Vanity, Malvolio's, Twelfth Night, ii. 3, " The devil a," etc. ; 
H. 5 ; preys upon itself, Richard II., H. 1 ; a sweep of, Timon of 
Athens, i. 2 ; the puppet, King Lear, ii. 2 ; of the world, Cymbeline, 
Hi. 3 ; Cloten's, Cymbeline, iv. 1. 

Vanquished, taunts to the, King John, v. 2. 

Vant-brace (armour for the forearm), Troilus and Cressida, i. 3. 

Vapians, the, Twelfth Night, ii. 3. See Pigrogromitus. 

Variety, of people, Merchant of Venice, i. 1, " Now, by two- 
headed Janus," etc. ; infinite, Antony and Cleopatra, ii. 2. 

Varnish, the, of a complete man, Love's Labour's Lost, i. 2 ; 
on fame, Hamlet, iv. 7. 

Varrius, a character in Measure for Measure, introduced in 
iv. 5, where he does not speak. 

Varrius, a character in Antony and Cleopatra, introduced in ii. 
1, a friend of Pompey. 

Varro, a servant of Brutus in Julius Caisar, appears in iv. 3. 

Vast (a waste), The Tempest, i. 2 ; A Winter's Tale, i. 1. 

Vastidity (vastness), Measure for Measure, Hi. 1. 

Vaudemont, a French earl, killed at Agincourt, mentioned, 
Henry V., Hi. 5 ; iv. 8. 

Vaughan, Sir Thomas, character in Richard III., appears in 
Hi. 3 ; sent to execution, Hi. 3, If. ; his ghost, v. 3. 



388 INDEX TO SHAKSPERE'S WORKS. 

Vaunt (beginning, van) Troilus and Cressida, prologue. 

Vaunt-couriers (heralds, precursors), King Lear, Hi. 2. 

Vaux, Sir William, character in II. Henry VI, first appears in 
Hi. 2. He forfeited all his property for adherence to Lancaster. 
His son is a character in Henry VIII. 

Vaux, Sir Nicholas, character in Henry VIII, introduced in ii. 
1, a son of the Sir William Vaux in II. Henry VI. His father's 
forfeited lands were restored to him at the accession of Henry VII. 

Vaward (vanward), Midsummer-Night's Dream, iv. 1. 

Vein, of Ercles, Midsummer- Night's Dream, i. 2 ; of King Cam- 
byses, 7". Henry IV., ii. 4,' the giving, Richard III, iv. 2. 

Veins, mustering to the heart, Lucrece, I. 442. See Blood, cir- 
culation of the ; checks and disasters grow in the veins of actions 
highest reared, Troilus and Cressida, i. 3. 

Velutus, Sicinius. See Sicinius Velutus. 

Velvet, gummed (stiffened with gum), i". Henry IV., ii. 2. 

Velvet-guards, I. Henry IV, Hi. 1. Trimmings of velvet, 
much affected by the wives of wealthy citizens ; and here applied to 
the women themselves. 

Vendetta, the, of Capulets and Montagues, Romeo and Juliet. 

Veneys (venues, passes in fencing), Merry Wives of Windsor, i. 
1 ; Love's Labour's Lost, v. 1. 

Vengeance, mercy nobler than, The Tempest, v. 1 ; threatened, 
Much Ado about Nothing, iv. 1 ; of Leontes, A Winter's Tale, ii. 3 ; 
omens of, King John, Hi. 4 ,' oath of, King John, iv. 3 ; of Heaven, 
Richard II, i. 2 ; sworn, Titus Andronicus, ii. 3; for Caesar's 
wounds, Julius Cwsar, v. 1 ; just, Hamlet, i. 5 ; Laertes's vows of, 
Hamlet, iv. 4 or 2 ; sure, King Lear, Hi. 7 ; invoked, Othello, Hi. 3, 
"Arise, black," etc. ; v. 2 ; Lucrece, lines 1690, 1821. 

Venice, Italy, the scene of a part of the Merchant of Venice and 
of Othello. 

Venice, Duke of, a character in the Merchant of Venice, intro- 
duced in iv. 1. 

Venice, Duke of, character in Othello, introduced in i. 3. 

Venice, senators of, characters in the Merchant of Venice. 

Venice, Cupid in, Much Ado about Nothing, i. 1 ; as the travel- 
ler speaks of, Love's Labour's Lost, iv. 2 ; law of, to protect its citi- 
zens, Merchant of Venice, iv. 1 ; death at, Richard II, iv. 1 ; women 
of, Othello, Hi. 3. 

Venison, thanks for, Merry Wives of Windsor, i. 1; see Shal- 
low ; to kill, As You Like It. ii. 1. 



INDEX TO SHAKSPERE'S WORKS. 389 

Vent (impetuosity, as of hounds when they scent the game), Co- 
riolanus, iv. 5. 

Ventages (small apertures), Hamlet, Hi. 2. 

Ventidius, one of the false friends in Timon of Athens, intro- 
duced in i. 2. He has been released from prison by Timon (ii. 2, end), 
but, having grown rich, he refuses a loan to his benefactor, Hi. 3. 

Ventidius, character in Antony and Cleopatra, introduced in 
ii. 2. 

Ventricle of memory, the. Love's Labour's Lost, iv. 2. Allud- 
ing to the old division of the brain into three ventricles, in the 
hindermost of which was memory. 

Ventures, at sea, anxiety for, Merchant of Venice, i. 1; Hi. 2. 

Venturing, Venus and Adonis, I. 567. See also Daring, Oppor- 
tunity. 

Venus, doves or pigeons of, The Tempest, iv. 1; Midsummer- 
Night's Dream, i. 1; Merchant of Venice, ii. 6; love's invisible 
soul, Troilus and Cressida, Hi. 1 ; smiles not in a house of tears, 
Romeo and Juliet, iv. 1. 

Venus (the planet), Midsummer-Night's Dream, Hi. 2; 11. 
Henry IV., ii. 4; I. Henry VI., i. 2 ; Titus Andronicus, ii. 3. 

Venus and Adonis, a poem first printed in 1593, and therefore 
one of the earliest of Shakspere's works. In the dedication he calls 
it the first heir of his invention ; whether he meant by that that it 
was first of all his writings, or earlier than any of his plays, or than 
any that were wholly original, is uncertain. The story as told by 
Shakspere differs materially from Ovid's version, and is said to re- 
semble more one by Henry Constable, published in 1600 in a volume 
called "England's Helicon," but not known to have been written 
before this one. The subject of the poem is repellent, but it con- 
tains descriptive passages of great beauty. See under Lucrece. 

Venus with young Adonis, Passionate Pilgrim, xi. 

Veracity, faith in, Coriolanus, iv. 5. 

Verb, a noun and a, such abominable words as no Christian ear 
can endure to hear, 77. Henry VI., iv. 7. 

Verbosity, and argument, Love's Labour's Lost, v. 1 ; Troilus 
and Cressida, v. 3 ; of Gratiano, Merchant of Venice, i. 1. See 
Words. 

Vere, Lord Aubrey, III. Henry VI, Hi. 3. 

Verges, a character in Much Ado about Nothing, introduced in 
Hi. 3, a meek imitator and disciple of Dogberry. 

Verily, a lady's, is as potent as a lord's, A Winter's Tale, i. 2. 



390 INDEX TO SHAKSPERE'S WORKS. 

Vernon, Sir Richard, character in I. Henry IV., appears in iv. 
1, and v. 1 and 2. He was a partisan of the Percys, and one of the 
leaders at Shrewsbury, for which he was condemned and executed, 
July 23, 1403. He and Worcester are ordered to death in v. 5. 

Vernon, Sir Richard (?), character in I. Henry VI, first appears 
in ii. 4, the scene where the red and white roses are plucked in a 
quarrel with Bassett, a Lancastrian. Vernon is an ardent adherent 
of York. The quarrel is continued in Hi. ^ and iv. 1. 

Verona, Italy, scene of the greater part of Romeo and Juliet, and 
parts of the Two Gentlemen of Verona. 

Versatility, of the king, Henry V., i. 1. 

Verse. See Poetry. 

Verses, on trees — lame, As You Like It, Hi. 2. 

Vesture of decay, this muddy, Merchant of Venice, v. 1; the 
essential, of creation, Othello, ii. 1. 

Via (away), Merry Wives of Windsor, ii. 2 ; Love's Labour's 
Lost, v. 2 ; Merchant of Venice, ii. 2, and elsewhere. 

Vials, the sacred (lachrymatory), Antony and Cleopatra, i. 3. 

Vice(s), prevalence of, Measure for Measure, ii. 1; results of 
pardoning, Measure for 3Ieasure, ii. 2 ; apparelled like virtue, Com- 
edy of Errors, Hi. 2 ; virtue misapplied turns to, Romeo and Juliet, 
ii. 3 ; self -accusation of, Macbeth, iv. 3 ; repeated, Pericles, i. 1; 
assume the marks of virtues, Merchant of Venice, Hi. 2 ; fitly be- 
stowed, AWs Well that Ends Well, i. 1, " One that goes." etc. ; want 
not impudence, A Winter's Tale, Hi 2 ; an old man boasting of his 
youthful, II. Henry IV.. in. 2; of a young man, Hamlet, ii. 1; 
through tattered clothes, King Lear, iv. 6 ; gods make instruments 
of, King Lear, v. 3; with beauty, Sonnet xcv ; result of persever- 
ance in, Antony and Clopatra. Hi. 11 or 13. 

Vice, the old, Twelfth Night, iv. 2. A character in the old 
" Moralities," who leaped on the devil's back and beat him with a 
sword of lath, but was carried away by him in the end. The moral 
is that, though sin may be merry with the devil, it must become his 
prey in the end. There are other allusions, as to that reverend vice, 
I. Henry IV., ii. 4, to vice's dagger in II. Henry IV, Hi. 2, the 
formal vice in Richard III. Hi. 1, and the vice of kings in Hamlet, 
Hi. 4, a " king of shreds and patches." The vice wore motley. 

Vice (fist, grasp), II. Henry 1 V., ii. 1. 

Victory, when without loss, Much Ado about Nothing, i. 1 ; ex- 
ultation and rejoicing in, King John, v. 5; II. Henry IV., i. 1; III. 
Henry VI.. v. 3 ; Richard III., i. 1 ; Antony and Cleopatra, iv. 8. 



INDEX TO SHAKSPERE'S WORKS. 391 

Video et gaudeo (I see and rejoice), Love's Labour's Lost, v. 1. 

Vidisne quis venit (Do you not see who comes ?), Love's La- 
bour 's Lost, v. 1. 

Vidomar, Viscount of Lyraoges. See Austria, Archduke of. 

Vienna, the scene of Measure for Measure. 

Vile, the, see vileness in goodness, King Lear, iv. 2 ; praise of, 
Timon of Athens, i. 1. 

Viliago (coward), II. Henry VI., iv. 8. 

" Vilia miretur," etc., a quotation from Ovid placed at the be- 
ginning of Venus and Adonis. u The vulgar admire the vile ; to 
me golden-haired Apollo presents a full Castalian draught." 

Villain(s), when rich, have need of poor, Much Ado about Noth- 
ing, Hi. 3 ; faces of, Much Ado about Nothing, v. 1 ; King John, iv. 2 ; 
(serf and rascal), As You Like It, i. 1 ; determined to prove a, Rich- 
ard III., i. 1 ; smiling, damned — smile and be a, Hamlet, i. 5 ; gloz- 
ing their villainy, Othello, ii. 3, " And what's he," etc. ; a plain-deal- 
ing, Much Ado about Nothing, i. 3 ; a self-confessed, King Lear, i. 
2 ; a, with a smiling cheek, Merchant of Venice, i. 3. 

Villainy, out- villained, All's Well that Ends Well, iv. 3 ; easy 
to practise on innocence, King Lear, i. 2, end ; make mocks with 
love, Othello, v. 2 ; clothed with old odd ends stolen from Holy 
Writ, Richard III. i. 3 ; instruction in, bettered, Merchant of Ven- 
ice, Hi. 1. 

Vincentio, the Duke of Vienna, in Measure for Measure, enters 
in the first scene. He is a man of purity, justice, moderation, and 
mercifulness, even toward errors to which he is himself under no 
temptation — a contrast to Angelo — but given to masquerading and 
mystery, justifying the appellation Lucio gives him, " the fantastical 
duke of dark corners." 

Vincentio, of Pisa, a character in the Taming of the Shrew, in- 
troduced in iv. 5. 

Vine, the elm and the, Comedy of Errors, ii. 2 ; every man shall 
eat under his own (in the days of Elizabeth), Henry VIII., v. 4. 

Vinegia (Venetia), etc., Love's Labour's Lost, iv. 2. " Venice, 
he who praises thee not has not seen thee." From Baptista Spagno- 
lus, of Mantua. 

Vinewedst (mouldiest), Troilus and Cressida, ii. 1. 

Vintner, a, a character in 1. Henry IV., appears in ii. 4- 

Viola, heroine of Twelfth Night, introduced in the second scene. 
She has been shipwrecked, and dresses as a man to protect herself in 
the strange country where she is, enters the service of the duke, with 
34 



392 INDEX TO SHAKSPERE'S WORKS. 

whom she falls hopelessly in love, and is made the confidant of his 
affection for Olivia and his messenger to her. In thn delicacy and 
refinement of her character, and her high breeding and gentleness, 
she somewhat resembles Perdita. 

" Viola is like a heightened portrait of Julia of the ' Two Gentle- 
men of Verona,' enriched with lovely colour, and placed among more 
poetical surroundings. She has not the pretty saueiness of Rosalind 
in her disguise, but owns a heart as tender, sweet-natured, and 
sound-natured as even Rosalind's. The mirth of the play belongs to 
other actors than Viola ; her occasional playfulness falis back into 
her deep tenderness and is lost in it." — Dowden. 

Viol-de-gamboys (gamba). Twelfth Night, i. 3. A violoncello 
with six strings, held between the legs. 

Violenta, an unimportant character in All's Well that Ends 
Well, appears in Hi. 5. 

Violets, Twelfth Night, i. 1 ; A Winter's Tale, iv. 3 or 4 ; Mid- 
summer-NighV s Dream, ii. 2 ; Measure for Measure, ii. 2 ; Richard 
II., v. 2 ; Henry V., iv. 1 ; to throw a perfume on, is wasteful, King 
John, iv. 2 ; Hamlet, v. 1 ; Pericles, iv. 1 ; Sonnet xcix. The violet 
was an emblem of the early dead. 

Virago(es), Much Ado about Nothing, ii. 1; Twelfth Night, 
Hi. 4 ; Taming of the Shrew, i. 1 ; et seq. 

Virgilia, wife of Coriolanus, a character in the drama, intro- 
duced in i. 3. Her gentle, fond, sensitive disposition is strongly 
contrasted with the character of Volumnia, her husband's mother. 
Coriolanus calls her " My gracious silence." 

Virginalling (playing the virginals), A Winter's Tale, i. 2. 

Virginity, All's Well that Ends Well, i. 1. 

Virginius, did he do well, Titus Andronicus, v. 3. 

Virgins, knights of Diana, All's Well that Ends Well, i. 3. 

Vir sapit, etc. (the man is wise who speaks little), Love's La- 
bour's Lost, iv. 2. 

Virtue, of necessity, Two Gentlemen of Verona, iv. 1; to be 
shown forth, Measure for Measure, i. 1 ; some fall by, Measure for 
Measure, ii. 1 ; a bait to vice, Measure for Measure, ii. 2 ; looks 
bleak, etc., All's Well that Ends Well, i. 1 ; in the lowly, All's Well 
that Ends Well, ii. 3, " From lowest place," etc. ; none like necessity, 
Richard II, i. 3 ; inheritance of, 111. Henry VI, ii. 2 ; only felt 
by reflection, Troilus and Cressida, Hi. 3; perverted, Romeo and 
Juliet, ii. 3 ; from lack of means for vice, Timon of A thens, iv. 3 ; 
of Imogen, Cymbeline, i. 4; escapes not calumny, Hamlet, i. 3; 
better assumed than wholly wanting, Hamlet, Hi. 4 ; and cunning 



INDEX TO SHAKSPERE'S WORKS. 393 

(wisdom), Pericles, Hi. 2 ; influence of, Pericles, iv. 5, 6; in a face, 
Lucrece, I. 53. 

Virtue(s), are sanctified and holy traitors to their possessors, As 
You Like It, ii. 3 ; a world to hide them in. Twelfth Night, i. 3 ; 
with beauty, I. Henry VI., v. 5 ; written in water, Henry VIII., iv. 
2 ; obscured by one defect, Hamlet, i. 4; assume a, if you have it 
not, Hamlet, Hi. 4; lie in the interpretation of the time, Coriolanus, 
iv. 7. 

Virtuous, Dost thou think there shall be no more cakes and ale, 
because thou art, Twelfth Night, ii. 3. 

Vision, the baseless fabric of a, The Tempest, iv. 1. 

Visions: Katherine's, Henry VIII., iv.2 ; Posthumus's, Cymbe- 
line, v. 4. See Dreams. 

Visor, William, of Woncot, II. Henry IV., v. 1. 

Vizaments (advisements, or considerations), Merry Wives of 
Windsor, i. 1. 

Vizor, a virtuous, over vice, Richard III, ii. 2 ; Macbeth, Hi. 2. 

Vocation, no sin for a man to labour in his, I. Henry IV., i. 2. 

Voices, of age, Comedy of Errors, v. 1, '• Not know my," etc. ; 
too rude and bold, Merchant of Venice, ii. 2 ; well divulged in (this 
may mean well reputed by men's voices, or said to be learned in lan- 
guages), Twelfth Night, i. 5 ; soft, gentle, and low, King Lear, v. 3 ; 
beauty of, Venus and Adonis, I. 428 ; of Marcius, Coriolanus, i. 6 ; 
a sweet, Pericles, v. 1, " Who starves the ears she feeds, and makes 
them hungry, the more she gives them speech." 

Volquessen, King John, ii. 1 or 2. The ancient name of the 
province now called the Vexin, which lay on the border-land between 
France and Normandy. It had been ceded by King Henry I. of 
France to Duke Robert of Normandy ; but the French again took 
possession of it during the childhood of William the Conqueror, who 
did not attempt to retake it until 1087. In the course of the strug- 
gle Mantes was burned, and there William received injuries by a fall 
from his horse, of which he died. 

Volsces, preparations of, for war, Coriolanus, Hi. 1 ; incursion 
of, Coriolanus, iv. 5. A people inhabiting the southern part of La- 
tium, finally subdued by the Romans in the Samnite wars, 343 and 
326 b. c. 

Volscian Senators, characters in Coriolanus. 

Voltimand, a courtier in Hamlet, introduced in i. 2. 

Volumnia, mother of Coriolanus, introduced in i. 3 ; her pride 
in her son's valour, i. 3 ; she disapproves his haste, Hi. 2 ; her an- 



394: INDEX TO SHAKSPERE'S WORKS. 

ger, iv. 2 ; her suit to her son, v. 3 ; worth a city-full, v. 4. She has 
her son's haughty pride of class, hateful contempt for the people, 
thirst for honour, and, one might say, martial courage. By her 
suit to her son, v. 3, she is said to have " saved Rome and lost her 
son ; " but she did not know that she was saving Rome at such a 
cost. Her speech to him, beginning " Speak to me, son," is taken 
very literally from the translation of Plutarch. 

" The haughty temper of Volumnia, her admiration of the valour 
and high bearing of her son, and her proud but unselfish love for 
him, are finely contrasted with the modest sweetness, the conjugal 
tenderness, and the fond solicitude of his wife Virgilia. . . . But the 
triumph of Volumnia's character, the full display of all her grandeur 
of soul, her patriotism, her strong affections, and her sublime elo- 
quence, are reserved for her last scene, in which she pleads for the 
safety of Rome, and wins from her angry son that peace which all 
the swords of Italy and her confederate arms could not have pur- 
chased."— Mrs. Jameson. 

" The poet gradually wins us to an admiration of the hero by the 
most skilful management. First, through his mother. What a 
glorious picture of an antique matron, from whom her son equally 
derived his pride and his heroism, is presented in the exquisite scene 
[*. 3] where Volumnia and Virgilia talk of him they love according 
to their several natures ! Who but Shakspere could have seized 
upon the spirit of a Roman woman of the highest courage and men- 
tal power, bursting out in words such as these " [beginning, " His 
bloody brow ! "J — Knight. 

Volumnius, a friend of Brutus and Cassius in Julius Cmsar, 
first appears in v. 3. 

Voluptuousness, in troubled times, Antony and Cleopatra, i. 4> 

Votress, the imperial [Elizabeth], passed on, in maiden medi- 
tation, fancy-free, Midsummer-Night's Dream, ii. 1. 

Vows, lovers', Two Gentlemen of Verona, ii. 2 ; unheedf ul, Two 
Gentlemen of Verona, ii. 6 ; of men, Measure for Measure, i. 5 ; 
broken, Love's Labour's Lost, iv. 3 ; v. 2 ; Hermia's, Midsummer- 
NighVs Dream, i. 1; true, AIVs Well that Ends Well, iv. 2; Her- 
mione's, A Winter's Tale, Hi. 2 ; obligation of wrongful, King John, 
Hi. 1; I. Henry IV., i. 3 ; Hi. 2 ; binding nature of, Henry V., iv. 
7 ; sinful, not to be kept, III. Henry VI, v. 1 ; broken, Troilus and 
Cressida, v. 2; peevish, Troilus and Gressida, v. 3 ; careless, Ham- 
let, i. 3 ; false, Antony and Cleopatra, i. 3 ; men's, Cymbeline, Hi. 4> 

Vox, you must allow, Twelfth Night, v. 1. Allow one to 
speak. 

Vulcan, a rare carpenter, Much Ado about Nothing, i. 1 ; black 
as, Twelfth Night, v. 1 ; as like as, and his wife, Troilus and Cres- 



INDEX TO SHAKSPERE'S WORKS. 395 

sida, i. 3 ; imagination as foul as his stithy, Hamlet, Hi. 2 ; badge 
of, Titus Andronicus, ii. 1. 

Vulture, the, Merry Wives of Windsor, i. 3 ; II. Henry VI., iv. 
3 ; Titus Andronicus, v. 2 ; King Lear, ii. 4. 

Waftage (passage by water), Comedy of Errors, iv. 1 ; Troilus 
and Cressida, Hi. 2. 

Wager(s), as to the most obedient wife, Taming of the Shrew, 
v. 2 ; as to Imogen, Cymbeline, i. 5 ; nothing can seem foul to those 
that win, I. Henry IV., v. 1. 

Waggery, Cymbeline, Hi. 4, " A waggish courage." 

Waggon, spokes of Queen Mab's, Romeo and Juliet, i. 4. 

Wagtail, name applied to an officious person, King Lear, ii. 2. 

Waist, and wit, Love's Labour's Lost, iv. 1 ; I would my means 
were greater and my waist slenderer, II. Henry IV., i. 2. 

Waist (that part of a ship between the forecastle and the quar- 
ter-deck), Troilus and Cressida, ii. 2. 

Wakefield, a market-town in the West Riding of Yorkshire, 
battle of (December 30, 1460), III. Henry VI., i. 3, 4; ii. 1. 

Wakes, Love's Labour's Lost, v. 2 ; a man that haunts, A Win- 
ter's Tale, iv. 2 or 3. Churches held wakes in honour of the saints 
to whom they were dedicated, on their anniversaries. 

Wales, scene of parts of Cymbeline. 

Wales, Anne, Princess of. See Anne. 

Wales, Princes of. See Edward, the Black Prince, Edward, 
Prince of Wales, Edward V., Henry V. 

Walking fire (will-o'-the-wisp), King Lear, Hi. 4. 

Wall, a character in the play of the artisans in the Midsummer- 
Night's Bream, taken by Snout, the tinker. " This man, with lime 
and rough cast, doth present Wall, that vile wall, which did those 
lovers sunder " — " the wittiest partition that ever I heard discourse." 

Wall, the weakest goes to the, Romeo and Juliet, i. 1 ; a beaute- 
ous, doth oft close in pollution, Twelfth Night, i. 2. 

Walloon, a base, thrust Talbot with a spear, I. Henry VI., i. 1. 
An inhabitant of that part of Flanders between the Scheldt and the 
Lys. 

Wandering knight, the sun a, I. Henry I V., i. 2. 

Wandering stars (planets), Hamlet, v. 1. 

Wannion, with a (with a vengeance), Pericles, ii. 1. 

Wantonness, accusation of, Sonnets cxxxvii., cxlii.-cxliv., clii. 

Wappened (or wappered, over- worn), Timon of Athens, iv. 3. 



396 INDEX TO SHAKSPERE'S WORKS. 

War, better than strife at home, AIVs Well that Ends Well, ii. 
3, near the end; threatened, King John, i. 1 ; ii. 1; Henry V., ii. 
4; devastations of, King John, ii. 1, 2; Hamlet, iv.4; declarations 
of, King John, Hi. 1 ; v. 2 ; Henry V., i. 2 ; Cymbeline, Hi. 1 ; civil, 
King John, iv. 3 ; v. 2 ; Richard II., Hi. 3 ; I. Henry IV., i. 1; ii. 
4; HI. Henry VI, ii. 5 ; Richard III, ii. 4; v. 5 ; like the god 
of, King John, v. 1 ; old men, boys, and women armed for, Richard 
II, Hi. 2 ; dreams of, I. Henry IV., ii. 3 ; just, I. Henry IV., v. 2 ; 
chances of, II. Henry IV., i. 1; caution in, 77. Henry IV., i. 3 ; 
an archbishop in, II. Henry IV., iv. 1. 2 ; prophecy of civil, II. Hen- 
ry IV., iv. 2 ; counsel for, Henry V., i. 2 ; preparations for, Henry 
V., ii., chorus ; ii. 4; sleeping sword of, Henry V., i. 2 ; spirit suit- 
able to, Henry V., Hi. 1; license of, Henry V., Hi. 3 ; the beadle 
and vengeance of God, Henry V., iv. 1; fame of, Henry V., iv. 3 ; 
a country after, Henry V., v. 2 ; its attendants, I. Henry VI, iv. 2 ; 
a son of hell, II. Henry VI, v. 2 ; or devotion, III. Henry VI, ii. 
1, " Shall we go throw away," etc. ; end of — hath smoothed his 
wrinkled front, Richard III, i. 1 ; closet, Troilus and Cressida, i. 
3 ; counsel in, despised, Troilus and Cressida, i. 3; ruthlessness 
in, Troilus and Cressida, v. 3 ; exceeds peace, Coriolanus, iv. 5; 
prophecy of — the dogs of, Julius Caisar, Hi. 1; preparations for, 
Julius Caisar, iv. 2 ; Hamlet, i. 1, 2 ; cruel, Timon of Athens, iv. 3 ; 
farewell to, Othello, Hi. 3 ; longing for, Cymbeline, iv. 4* 

War, the Trojan, Troilus and Cressida. 

War-cries, havoc, King John, ii. 1; Coriolanus, Hi. 1 ; God 
and Saint George, Richard III, v. 3. 

Ward, I am now in, AIVs Well that Ends Well, i. 1. The heirs 
of great fortunes were wards of the king in England and in Nor- 
mandy under feudal laws. Here the law is attributed to the rest of 
France. The father should be ward to the son, King Lear, i. 2. 

Ward (place of defence), A Winter's Tale, i. 2 ; Troilus and 
Cressida, i. 2 ; Merry Wives of Windsor, ii. 2. 

Warden pies, A Winter's Tale, iv. 2 or 3. Made of wardens, 
large pears. 

Warder, the king's, Richard II, i. 3; II. Henry IV., iv. 1. 
Throwing down the warder was a sign for the combat to stop. 

Ware, the bed of, Twelfth Night, Hi. 2. This famous bed, which 
is twelve feet square, is of oak, and very elaborately carved. It 
bears the date 1463 ; but as it seems by the carving to be of a later 
period, the date may have been marked on it to confirm the story 
that it once belonged to Warwick, the king-maker. It was in an inn 



INDEX TO SHAKSPERE'S WORKS. 397 

at Ware— the Saracen's Head — in 1864, when it was offered for sale 
at auction, at one hundred guineas ; but as no one raised the price, 
it was bought in. One story is, that it was made and presented to 
the royal family, in 1463, by one Jonas Fosbrooke, and that Edward 
IV., being much pleased with the curious carving, gave him a pen- 
sion for life. There is also a tradition that, years afterward, the bed 
was used on occasions when the town was very full ; but those who 
tried to sleep in it were kept awake by pinches, scratches, and other 
small persecutions, caused, it was supposed, by the spirit of Jonas 
Fosbrooke, who resented the use of his favourite work, designed for 
royalty, by common people in a public inn. 

Warkworth, a market-town of Northumberland, scene of parts 
of I. and II. Henry 1 V. 

Warnings, from heaven, Julius Ccesar, i. 3 ; disregarded, Lu- 
crece, I. 491. See Omens. 

Warriors, precarious fame of, Sonnet xxv. See Soldiers. 

Wars of the Roses, prophecy of, Richard II, iv. 1 ; origin of 
the use of the roses as emblems by the partisans of the two houses, 
I. Henry VI, ii. 4- A red rose was the badge of John of Gaunt, a 
white one of his brother, Edmund of Langley. For battles of the 
Wars of the Roses, see Barnet, Bosworth, Mortimer's Cross, Saint 
Albans, Tewksbury, Towton, and Wakefield. 

Wart, a recruit in II. Henry 1 V., appears in Hi. 2. 

Warwick, Richard Beauchamp (1381-1439), Earl of (mistakenly 
called Neville in Hi. 1). character in II. Henry IV., introduced in 
Hi. 1, in Henry V., introduced in i. 2, and in I. Henry VI, where 
he is present in the first scene, but does not speak. He fought 
against Glendower at Shrewsbury, and in the wars in France, and 
made -a pilgrimage to Palestine. He was regent of France from 
1437 to 1439, and was one of the ambassadors sent to treat of the 
marriage of Henry V., who, at his death, appointed him guardian 
and tutor for his infant son, afterward Henry VI. In the " Rous 
Roll " he is shown holding the infant prince in his arms. The great 
earl was noted for his charity as well as for his ability and bravery, 
and the Emperor Sigismund spoke of him as the "father of 
courtesy." His daughter Anne married Richard Neville, who is 
the Warwick of the next play. In it. 4 of /. Henry VI, Warwick 
takes the white rose with Plantagenet, and prophesies that the quar- 
rel then begun between the roses shall send " a thousand souls to 
death and deadly night." 

Warwick, Richard Neville, Earl of, " the king-maker," charac- 



398 INDEX TO SHAKSPERE'S WORKS. 

ter in the second and third parts of Henry VI, introduced in the 
first scene of each. He received the title and estates through his 
wife, heiress of the Beau champ family, and afterward, at the death 
of his father, became Earl of Salisbury. He was on the side of York 
at first, and was in the battles at St. Albans and Towton ; but he 
was offended at the marriage of Edward to Lady Grey, when he was 
negotiating a marriage with Bona of Savoy, II. Henry VI, Hi. 3, 
and an estrangement followed. Later he joined the forces of Queen 
Margaret, and was defeated and slain at Barnet (April 14, 1471), 
III. Henry VI, v. 2. Allusions to him as the king-maker, second 
part, end of tcene 2 ; act ii., third part, ii. 4; Hi. 3 ; to his device 
of the bear and ragged staff, II. Henry VI, v. 1 ; his power, " a bug 
that feared us all," third part, v. 2. One of his daughters, Isabella, 
married the Duke of Clarence ; the other, Anne, married Edward, 
son of Henry XL, and afterward Richard, Duke of Gloucester, and 
is a character in Richard HI. ; Clarence's dream of him, Richard 
III, i. 4 > Clarence's desertion of him for Edward, ii. 1. Warwick 
was said to have killed his horses at Towton, because he would not 
fly ; at Barnet, to have fought on foot, for the encouragement of his 
soldiers. The former is commemorated by the figure of a horse on 
the side of a hill in Tysoe, in the county of Warwick, called the Red 
Horse, from the colour of the soil, and on Palm-Sunday, the an- 
niversary of Towton, the people of the place meet together and 
" scour the horse," as it is called — clear away the vegetation that 
has accumulated on the figure. 

Warwickshire, scene of 111. Henry VI, iv. 2, 3. 

"Washford (Wexford, in Ireland), I. Henry VI, iv. 7. 

Was it the proud, full sail of his great verse, Sonnet 
Ixxxvi. 

Wassail-candle, a, II. Henry IV., i. 2. A large candle used 
at a merry-making. 

Was this fair face the cause, song, AIVs Well that Ends 
Well, i. 3. 

Wastefulness, to gild refined gold, to paint the lily, etc., King 
John, iv. 2 ; of Falstaff. See Waist. 

Wat, name for a hare, Venus and Adonis, I. 697. 

Watch, directions to the, Much Ado about Nothing, Hi. 3. 

Watch, winding up the, of wit. The Tempest, ii. 1. 

Watch, give me a, Richard III, v. 3. A watch-light, marked 
to show the passage of time. 

Watchfulness, power of, Troilus and Cressida, Hi. 3. 



INDEX TO SHAKSPERE'S WORKS. 399 

"Water, smooth, II. Henry VI., Hi. 1 ; that glideth by the mill, 
Titus Andronicus, ii. 1; as false as, Othello, v. 2 ; the, was caught, 
and not the fish, A Winter's Tale, v. 2. 

Water-casting, allusions to the practice of, Two Gentlemen of 
Verona, ii. 1; Twelfth Night, Hi. 4; II. Henry IV., i. 2 ; Macbeth, 
v. 3 ; Merry Wives of Windsor, ii. 3. 

Water-fly, Hamlet, v. 2 ; Troilus and Cressida, v. 1. A busy, 
officious trifler. 

Waterford, Ireland, Talbot, Earl of, I. Henry VI, iv. 7. 

Water-galls, Lucrece, I. 1588. Secondary rainbows. 

Waterton, Sir Robert, mentioned in Richard II, ii. 1, as one 
of the companions of Bolingbroke. 

Waters, a boat for all, Twelfth Night, iv. 2. Ready for any port. 

Water-work (water-colours), II Henry IV., ii. 1. 

Watery star (the moon), A Winter's Tale, i. 2. 

Wax, love like an image of, Two Gentlemen of Verona, ii. 4- 

Wax, a form of, King John, v. 4.. Allusion to the superstition 
that an individual could be destroyed by melting before the fire a 
waxen image of him ; alluded to also in Two Gentlemen of Verona, 
ii. 4 »' Richard III. Hi. 4 ; sting of, II. Henry VI, iv. 2 ; a wide 
sea of, Union of Athens, i. 1. The last is probably an allusion to 
the waxen tablets anciently used for writing, as one might say now, 
a wide sea of foolscap; uses of, in sealing, Cymbeline, Hi. 2. 

Waywardness, of age, King Lear, i. 1. 

Weakness, Troilus and Cressida, i. 1 ; great results from, AIVs 
Well that Ends Well, ii. 1 ; physical, of a great man, Julius Ccesar, 
i.2. 

Wealsmen (legislators, commonwealth men), Coriolanus, ii. 1. 

Wealth, a burden for death to unload, Measure for Measure, 
Hi. 1 ; power of, Merry Wives of Windsor, Hi. 4 ; confiscated, 
Merchant of Venice, iv. 1 ; misery brought by, Timon of Athens, 
iv. 2; and peace, imposthume of , Hamlet, iv. 4. or 1; desire for, 
Lucrece, 1. 141 ; King Lear, i. 4 ; faults that are rich are fair, Timon 
of Athens, i. 2. See Gold, Money. 

Weapons, holy saws of sacred writ for, II. Henry VI, i. 3. 

Weariness, in a prince, II. Henry IV., ii. 2; sleep of, Cymbe- 
line, Hi. 6. 

Weary with toil, I haste me to my bed, Sonnet xxvii. 

Weasel, spleen of the, I. Henry IV., ii, 3 ; quarrelous as the, 
Cymbeline, Hi. 4; as a, sucks eggs, As You Like It, ii. 5 ; very like 
a, Hamlet, Hi. 2. 



400 INDEX TO SHAKSPERE'S WORKS. 

"Weather, unseasonable, due to strife among the fairies. See 
Seasons. 

Weather-cock, invisible as a, Two Gentlemen of Verona, ii. 1. 

Weaver(s), psalm-singers, I. Henry IV., ii. 4> three souls out 
of one, Twelfth Night, ii. 3. Weavers were noted for psalm-sing- 
ing ; Goliath with a weaver's beam, Merry Wives of Windsor, v. 1. 

Web-and-pin (cataract of the eye), A Winter's Tale, i. 2 ; King 
Lear. Hi. 4. 

Wedding journey, a, Taming of the Shrew, iv. 1. 

Weeds, in spring, II. Henry VI., Hi. 1; a crown of, King 
Lear, iv. 4, 6 ; the fattest soil is most subject to, II. Henry IV., iv. 
4 ; grow apace, Richard III., ii. 4 ; Hi. 1. 

Weeds (garments), Twelfth Night, v. 1 ; Coriolanus, ii. 3 ; King 
Lear, iv. 1, and elsewhere. 

Weeping. See Tears. 

Weet (wit, know), Antony and Cleopatra, i. 1. 

Weird Sisters, the. See Witches, the. 

Welcome, a landlady's, Two Gentlemen of Verona, ii. 5 ; at a 
feast, Comedy of Errors, Hi. 1; must appear in other ways than 
words, Merchant of Venice, v. 1 ; a general, Henry VIII. i. 4> and 
farewell, Troilus and Cressida, Hi. 3-; to a returning soldier, Corio- 
lanus, ii. 1 ; treacherous, Macbeth, i. 5 ; of a hostess, Macbeth, i. 6 ; 
expression of, Macbeth, iii. 4; Pericles, ii. 3; Romeo and Juliet, 
ii. 6. 

Well-liking (fat), Love's Labour's Lost, v. 2. 

Welsh, the, accent of, Merry Wives of Windsor, Sir Hugh 
Evans in i. 1, 2, etc., and Fluellen's in Henry V. ; the devil under- 
stands, /. Henry IV, Hi. 1; love for cheese of, Merry Wives of 
Windsor, v. 5 ; cruelties of, I. Henry IV., i. 1 ; language of the, I. 
Henry IV., iii. 1, last part ; service of, in France, Henry V., iv. 7. 

Were't aught to me I bore the canopy, Sonnet cxxv. 

Westminster, scene of a part of Henry VIII. 

Westminster, palace at, scene of a part of 77. Henry IV. 

Westminster Abbey, scene of the opening of I. Henry VI. 

Westminster, the Abbot of, a character in Richard II., intro- 
duced in iv. 1. He was the leader of the conspiracy to kill Boling- 
broke ; in v. 6 he is said to have died " with clog of conscience and 
sour melancholy." The name of this abbot is not certainly known, 
but William de Colchester is generally supposed to be the one; 
though, from the fact that the date of his death is uncertain, it may 
have been his successor, Richard Harounden. 



INDEX TO SHAKSPERE'S WORKS. 401 

Westminster Hall, scene of iv. 1 in Richard II. It was re- 
built by Richard, who was deposed by the first Parliament that met 
there. 

Westmoreland, Ralph Neville, Earl of, character in Henry IV., 
both parts, and in Henry V. He was the first earl, made so by 
Richard II., in 1397. He was, however, on the side of Bolingbroke, 
who rewarded him for his services with several important appoint- 
ments. In II. Henry IV. iv. 1, he meets the archbishop and Mow- 
bray to persuade them to abandon their rebellion. Of his twenty- 
two children, his oldest son died, leaving a son Ralph, who is the 
Westmoreland of 111. Henry VI. 

Westmoreland, Ralph Neville, second earl of, character in 
III. Henry VI, grandson of the preceding. He is an adherent 
of the house of Lancaster, and is introduced in the first scene. 

Westward, hoe ! Twelfth Night, Hi. 1. The cry of boatmen on 
the Thames. 

Wezand (windpipe), The Tempest, Hi. 2. 

Whale, this — Falstaff, Merry Wives of Windsor, ii. 1; the 
belching, Troilus and Cressida, v. 5 ; like a, Hamlet, Hi. 2 ; to vir- 
ginity, All's Well that Ends Well, iv. 3. The monster that was to 
devour Andromeda was represented as a whale in some old prints. 

Whale's bone (walrus-teeth). Love's Labour's Lost, v. 2. 

What is your substance, whereof are you made, Sonnet 
liii. 

What potions have I drunk of siren tear3, Sonnet cxix. 

What's in the brain that ink may character, Sonnet cviii. 

Wheat, two grains of, in two bushels of chaff. Merchant of 
Venice, i. 1; he that will have a cake of the, must tarry the grind- 
ing, Troilus and Cressida, i. 1. 

Wheel, turn in the (like a turnspit), Comedy of Errors, Hi. 2; 
(the burden of a song?), Hamlet, iv. 5 or 2 ; when a great, runs 
down a hill, let go thy hold, King Lear, H. 4 ,' death by the, Corio- 
lanus, Hi. 2, a punishment not used in Rome ; of fire, bound upon 
a, King Lear, iv. 7. 

Whelked (twisted, convoluted), King Lear, iv. 6. 

Whelks (pustules), Henry V., Hi. 6. 

When as I sat in Babylon, song, Merry Wives of Windsor, 
Hi. 1. A metrical version of Psalm cxxxvii., mixed with a song by 
Marlowe. 

When as thine eye hath chose the dame, Passionate Pil- 
grim, xix. 



402 INDEX TO SHAKSPERE'S WORKS. 

When daffodils begin to peer, song, A Winter's Tale, iv. 2 
or 3. 

When daisies pied and violets blue, song, Love's Labour's 
Lost, v. 2. 

When forty winters shall besiege thy brow, Sonnet ii. 

When griping grief, song by Richard Edwards, Romeo and 
Juliet, iv. 5. 

When I consider every thing that grows, Sonnet xv. 

When I do count the clock that tells the time, Sonnet xii. 

When I have seen by Time's fell hand defaced, Sonnet 
Ixiv. 

When, in disgrace with fortune and men's eyes, Sonnet 
xxix. 

When in the chronicle of wasted time, Sonnet cvi. 

When most I wink, then do mine eyes best see, Sonnet 
xliii. 

When my love swears that she is made of truth, Sonnet 
cxxxviii ; Passionate Pilgrim, i. 

When thou shalt be disposed to set me light, Sonnet 
Ixxxviii. 

When to the sessions of sweet silent thought, Sonnet xxx. 

Wher (whether), II. Henry VI., Hi. 3 ; Comedy of Errors, iv. 1. 

Where art thou, Muse, that thou forget'st so long, Son- 
net c. 

Where is the life that late I led ? Taming of the Shrew, 
iv. 1. A line from an old ballad now lost. 

Where, to find a better, thou losest here. King Lear, i. 1. 

Where the bee sucks, song, The Tempest, v. 1. 

Whetstone, well said, Troilus and Cressida, v. 2 ; of a sword, 
Macbeth, iv. 3. 

Whimer, a, Henry V., v., chorus. An officer who preceded a 
procession to clear the way, sometimes a piper. 

Whiles (until), Twelfth Night, iv. 3. 

Whiles you here do snoring lie, song, The Tempest, ii. 1. 

Whilst I alone did call upon thy aid, Sonnet Ixxix. 

Whipping, punishment by, Taming of the Shreic, i. 1 ; II. 
Henry IV., v. 4; II. Henry VI., ii. 1; Antony and Cleopatra, Hi. 
11; Hamlet, ii. 2; AWs Well that Ends Well, ii. 2 ; King Lear, 
i. If ; the impression of keen whips, Measure for Measure, ii. 4. 

Whirligig, of time, the, Twelfth Night, v. 1. 

Whitehall, named, Henry VIII., iv. 1. 



INDEX TO SHAKSPERE'S WORKS. 403 

Whiteness, of new snow upon the raven's back, Romeo and 
Juliet, Hi. 2 ; of doves-down, A Winter's Tale, iv. 3. 

Whitmore, Walter, character in II. Henry VI, introduced in 
iv. 1, one of the pirates that captured the Duke of Suffolk, and the 
one to whose share he fell. The name Walter was pronounced with 
the I silent ; the duke says : 

" A cunning man did calculate my birth, 
And told me that by water I should die." 

Whitsters (bleachers), Merry Wives of Windsor, Hi. 3. 

Whitsuntide, or Pentecost, Two Gentlemen of Verona, iv. 4 ; 
Romeo and Juliet, i. 5 ; Comedy of Errors, iv. 1 ; pastorals at, A 
Winter's Tale, iv. 3 or 4 ; morris-dance at, Henry V., ii. 4. 

Whittle (pocket-knife), Timon of Athens, v. 1. 

Whoever hath her wish, thou hast thy will, Sonnet cxxxv. 

Who is it that says most ? Sonnet Ixxxiv. 

Who is Silvia ? song, Two Gentlemen of Verona, iv. 2. 

Whoobub (hubbub), A Winter's Tale, iv. 3 or 4. 

Whoop, do me no harm, A Winters Tale, iv. 3 or 4. Refrain 
of an old ballad. 

Who will believe my verse in time to come, Sonnet xvii. 

Why, every, hath a wherefore, Comedy of Errors, ii. 2. 

Why didst thou promise such a beauteous day, Sonnet 
xxxiv. 

Why is my verse so barren of new pride, Sonnet Ixxvi. 

Why should this a desert be ? love-verses, As You Like It, 
Hi. 2. 

Wicked, the love of the, Richard II, v. 1 ; their own enemies, 
AIVs Well that Ends Well, iv. 3 ; swords of the, turned against 
themselves, Richard HI, v. 1. 

Wickedness, confession of, Titus Andronicus, v. 1; Heaven 
sees all, Henry V., iv. 1; II Henry VI, v. 2 ; Hamlet, Hi. 3 ; Peri- 
cles, i. 1; relative, King Lear, ii. 4, "Those wicked creatures," 
etc. ; unpunished, King Lear, Hi. 7 ; leavens the good, Cymoeline, 
Hi. 4 ; downward course of, Henry V., Hi. 3. 

Widow(s), dower of a, Measure for Measure, v. 1 ; Heaven, the 
champion of, Richard II, i. 2 ; speedy marriage of a, Hamlet, i. 2 ; 
fear to leave a. Sonnet ix. 

Widow, a, a character in the Taming of the Shrew, introduced 
in v. 2, who marries Hortensio. 

Widow, a, of Florence, character in AIVs Well that Ends Well, 
the mother of Diana. See Camlet. 
35 



404 INDEX TO SHAKSPERE'S WORKS. 

"Wife (wives), a jewel, Two Gentlemen of Verona, ii. 4 ; may be 
merry and honest, Merry Wives of Windsor, iv. 2 ; are sold by fate, 
Merry Wives of Windsor, v. 5 ; duties of, Comedy of Errors, ii. 1 ; 
Taming of the Shrew, v. 2 ; reproaches of a jealous, Comedy of 
Errors, ii. 1, 2 ; v. 1 ; like vines, Comedy of Errors, ii. 1 ; submis- 
sion of a, Merchant of Venice, Hi. 2 ; a light, Merchant of Venice, 
v. 1 ; always go wrong, Love's Labour's Lost, Hi. 1 ; those who rule 
their lords, Love's Labour's Lost, iv. 1 ; property in a, Taming of 
the Shrew, Hi. 2, " She is my goods," etc. ; kill a, with kindness, 
Taming of the Shrew, iv. 1 ; a detested, is worse than war, All's 
Well that Ends Well, ii. 3 ; jealousy of, As You Like It, iv. 1 ; re- 
volted, A Winter's Tale, i. 2 ; what motive stronger than the name 
of, King John, Hi. 1 ; fears of a, /. Henry IV., ii. 3 ; like a beaten, 
II. Henry IV., iv. 1 ; Gloucester's, 7. Henry VI., i. 1 ; a good, Hen- 
ry VIII, ii. 4 ; Hi. 1 ; taking a — avenging the theft of a, Troilus 
and Cressida, ii. 2 ; a quiet, Coriolanus, ii. 1, " My gracious silence ; " 
if you had been the wife of Hercules, Coriolanus, iv. 1 ; secrets from 
a — prayer to be worthy of a noble, Julius Cmsar, ii. 1; love of, 
Othello, i. 3 ; unfaithfulness of, Othello, iv. 3, end ; advantage in the 
death of a, Antony and Cleopatra, i. 2 ; one not to be controlled, 
Antony and Cleopatra, ii. 2 ; praise of a, Lucrece, I. 15. See also 
Women. 

"Wilderness (wildness), Measure for Measure, Hi. 1. 

"Wild fowl, there is not a more fearful, than your lion living, 
Midsummer- Night's Dream, Hi. 1 ; the opinion of Pythagoras con- 
cerning, Twelfth Night, iv. 2. 

Wild-goose chase, a, Romeo and Juliet, ii. 4. A kind of horse- 
race in which the second was obliged to follow the leader wherever 
he chose to go ; or any chase as hopeless as the pursuit of a wild 
goose. 

Wilfulness, schoolmasters to, King Lear, ii. 4, end; hydra- 
headed, Henry V., i. 1. 

Will, arbitrary, Two Gentlemen of Verona, i. 3; a strong, in a 
feeble body, like, II. Henry VI., v. 3 ; power of the, Othello, i. 3, 
speech of Iago ; happiness of following one's own, Cymbeline, i. 6. 

Will, play on the name, Sonnets cxxxv., cxxxvi., cxliii., cxliv. 

Will(s) (testaments), not such a sickly creature as to make a, 
Merry Wives of Windsor, Hi. 4 > of Portia's father, Merchant of 
Venice, i. 2; of worldlings, As You Like It, ii. 1; a wicked, a 
woman's, King John. ii. 1 ; bid a sick man make, Romeo and Juliet, 
i. 1 ; Caesar's, Julius Caisar, Hi. 2 ; he is said to have left about 



INDEX TO SHAKSPERE'S WORKS. 405 

fourteen dollars to each citizen, a sum equal in value to at least one 
hundred dollars now : a last, Lucrece, I. 1183 ; Pericles, i. 1. 

William, a country fellow in As You Like It, introduced in v. 1, 
in love with Audrey, who is captivated by Touchstone. 

Williams, character in Henry V., a soldier in the army, first 
appears in iv. 1, where Henry in his incognito talks with him and 
exchanges gloves with him. The outcome of the episode is in iv. 8. 

Will-o'-the-wisp, called a Jack, The Tempest, iv. 1; a fire- 
drake, Henry VIII, v. 4 ; a walking fire, King Lear, Hi. 4. 

Willoughby, Lord William de, an unimportant character in 
Richard II, a partisan of Bolingbroke, introduced in ii. 3. 

Willow, the, allusions to it as a symbol of disappointed love, 
Merchant of Venice, v. 1; 111. Henry VI, Hi. 3 ; Hamlet, iv. 7 ; 
Othello, iv. 3 ; Much Ado about Nothing, ii. 1. 

Wiltshire, James Butler, Earl of, spoken of in III Henry VL % 
i. 1. He was a Lancastrian, was wounded at St. Alban's, taken 
prisoner at Towton, and beheaded in 1460. 

Wiltshire, William le Scrope, Earl of. has the realm in farm, 
Richard II, ii. 1. He was a favourite of the king, who created him 
earl in 1395. On the landing of Henry of Lancaster, in 1399, he was 
taken and beheaded without a trial. 

Win, they laugh that, Othello, iv. 1. 

Winchester, Henry Beaufort, Cardinal, and Bishop of (1370- 
1447), character in the first and second parts of Henry VI, intro- 
duced in the first scene of each. He was a son of John of Gaunt 
and Catherine Swynford, and was therefore an uncle of Humphrey, 
Duke of Gloucester, the relationship referred to in I. Henry VI, Hi. 
1. He was the leader of the peace party, Gloucester of the war 
party ; their hatred toward each other is expressed in /. Henry VI, 
i. 1, 3. The play follows tradition in imputing to Winchester a 
share in Gloucester's death and the consequent remorse and horrible 
end ; but there is said to be no authentic evidence in favor of it. 
He is described by Holinshed as " haughty in stomach, high in coun- 
tenance, and strong in malice and mischief." He was called Cardi- 
nal of England, though the Bishop of Durham was a cardinal at the 
same time, and Beaufort's title was Cardinal of St. Eusebius. 

Winchester, Stephen Gardiner, Bishop of. See Gardiner. 

Winchester goose, /. Henry VI, i. 3 ; Troilus and Cressida, 
v. 11. Name for a vile disease, or one afflicted with it. A disrepu- 
table part of the town was under the jurisdiction of the Bishop of 
Winchester. 



406 INDEX TO SHAKSPERE'S WORKS. 

Wincot (Wilnecastle), in Warwickshire, near Stratford, Taming 
of the Shrew, induction, 2. 

Wind, something in the, Comedy of Errors, Hi. 2 ; sits in that 
corner, Much Ado about Nothing, ii. 3 ; churlish, As You Like It, 
ii. 1 ; little fire grows great with little. Taming of the Shrew, ii. 1 ; 
ill, II. Henry IV., v. 3 ; III. Henry VI., ii. 5 ; that bows the pine, 
Cymbeline, iv. 2 ; allusions to the south or southwest wind as bring- 
ing wet weather and disease, The Tempest, i. 2 ; I. Henry IV., v. 1 ; 
Coriolanus, i. 4 i Troilus and Cressida, v. 1 ; Cymbeline, ii. 3. 

Windmill, living with cheese in a, I. Henry IV., Hi. 1 ; in St. 
George's Fields, II. Henry IV, Hi. 2. 

Windows, the eyes, Richard III, i. 2 ; v. 3 ; Cymbeline, ii. 2. 

Winds, the, at sea, II. Henry IV., Hi. 1 ; sightless couriers, 
Macbeth, i. 7 ; Lear's appeal to. King Lear, Hi. 2. 

Windsor, twenty-three miles west of London, scene of the Merry 
Wives of Windsor. It has been conjectured that Elizabeth was at 
Windsor Castle when, according to the tradition, it was written for 
her, and that it was first acted there, the scene being laid at Windsor 
to give the play a local interest. Heme's oak, which is introduced 
in v. 3-5, stood in Windsor Little Park. 

Windsor Castle, scene of v. 6 in Richard II. ; spoken of in the 
Merry Wives of Windsor, v. 5. 

Wine, the temptation of, Merchant of Venice, i. 2; good, needs 
no bush, As You Like It, epilogue ; effect of, Timon of Athens, iv. 
3. " Nor on the beasts themselves," etc. ; of life, is drawn, Macbeth, 
ii. 3 ; good wine, a good creature, if well used — invisible spirit of, 
Othello, ii. 3, Cassio's speech ; the conquering, Antony and Cleopatra, 
ii. 7 ; unkindness buried in, Julius Co&sar, iv. 3 ; loquacity after 
taking, Henry VIII., i. 4. See Drunkenness. 

Winning, would put any man into courage, Cymbeline, H. 3. 

Winter, song of, Love's Labour's Lost, v. 2 ; age like a lusty, 
As You Like It, ii. 3 ; a sad tale for. A Winter's Tale, ii. 1 ; hu- 
mourous as, II. Henry IV., iv. 4 > of our discontent, Richard III., 
i. 1 ; not gone, if the wild geese fly that way, King Lear, ii. 4 ; 
tames man, woman, and beast, Taming of the Shrew, iv. 1. 

Winter's Tale, A, was written late in 1610 or early in 1611. It 
is founded on a story by Robert Greene, first published in 1588 
under the name of " Pandosto," and again in 1609, with the title, 
" The Historie of Dorastus and Fawnia." See Sources. The story 
was very popular, and passed through many editions. Shakspere 
followed it quite closely in most points, but in the story Hermione is 



INDEX TO SHAKSPERE'S WORKS. 407 

actually dead, and the love of Leontes for Perdita, merely hinted at 
in the play, drives him to suicide in the story. The time of the play 
cannot be determined, or, rather, it has no time. Pagan and Chris- 
tian usages and expressions are recklessly mingled. The queen is 
daughter of the Emperor of Russia, and her innocence is attested by 
the oracle at Delphos. The scene of action is first in Sicilia, after- 
ward in Bohemia, then again in Sicilia. This play is regarded as 
one of the best in its treatment of character and motive, though its 
plot defies all the unities. 

Wisdom, in self-disparagement, Measure for Measure, ii. 4 ; in 
imprisonment, Measure for Measure, i. 3 ; an appearance of, in 
silence, Merchant of Venice, i. 1 ; waiting on folly, All's Well that 
Ends Well, i. 1 ; too great a show of, All's Well that Ends Well, 
ii. 3, " I did think thee," etc. ; cries in the streets, I. Henry IV., i. 
2 ; gained in a wild life, Henry V., i. 1 ; of A jax, Troilus and Cres- 
sida, ii. 3 ; in combat with fortune, Antony and Cleopatra, Hi. 2 ; 
in combat with blood, Much Ado about Nothing, ii. 3 ; he's a fool 
that will not yield to, Pericles, ii. 4. 

Wise, the, folly of, As You Like It, ii. 7 ; knows his folly, As 
You Like It, v. 1 ; all places home to, Richard II., i. 3 ; do not 
wail, Richard II., Hi. 2 ; the young and, do ne'er live long, Richard 
III, Hi. 1. 

Wise-woman (witch), Merry Wives of Windsor, iv. 5. 

Wish(es), thy own, wish I thee, Love's Labour's Lost, ii. 1 ; the 
best, All's Well that Ends Well, i. 1 ; father to the thought, II. 
Henry IV., iv. 4. 

Wishers, were ever fools, Antony and Cleopatra, iv. 13 or 15. 

Wisp of straw, allusion to a, as the badge of a scold, III. Henry 
VI, ii. 2. 

Wit, winding the watch of, The Tempest, ii. 1 ; not to go unre- 
warded, The Tempest, iv. 1 ; love bought with, Two Gentlemen of 
Verona, i. 1 ; borrows and spends, Two Gentlemen of Verona, ii. 4 ,' 
without will, Two Gentlemen of Verona, ii. 6 ; on ill employment, 
Merry Wives of Windsor, v. 5 ; what is, in the great, is profanation 
in the humble, Measure for Measure, ii. 2 ; given to men in place of 
hair, Comedy of Errors, ii. 2 ; a skirmish of. Much Ado about 
Nothing, i. 1 ; Beatrice's, Much Ado about Nothing, ii. 1 ; Hi. 1 ; 
some remnants of, Much Ado about Nothing, ii. 3 ; the wit is out 
when age is in, Much Ado about Nothing, Hi. 5 ; Benedick's, Much 
Ado about Nothing, v. 1,2; a manly, Much Ado about Nothing, v. 
2; a sharp, Love's Labour's Lost, ii. 1; peddling second-hand, 



408 INDEX TO SHAKSPERE'S WORKS. 

Love's Labour's Lost, v. 2 ; turned fool, Love's Labour's Lost. v. 2 ; 
the whetstone of, As You Like It, i. 2 ; with understanding, As Yon 
Like It, Hi. 3 ; in women. As You Like It, iv. 1 ; has much to an- 
swer for, As You Like It, v. 1 ; with honour, AWs Well that Ends 
Well, i. 2 ; harmed by beef, Twelfth Night, i. 3 ; those that think 
they have, Twelfth Night, i. 5; enough, to lie straight, Twelfth 
Night, ii. 3 ; to play the fool, Twelfth Night, Hi. 1 ; the cause of, in 
other men, II. Henry IV., i. 2 ; and sherris, II. Henry IV., iv. 3 ; 
encounter of, Richard III, i. 2 ; lack of, Troilus and Cressida, ii. 
1 ; Hamlet, ii. 2 ; brevity the soul of, Hamlet, ii. 2 ; & bitter sweet- 
ing, Romeo and Juliet, ii. 4 / pared on both sides, King Lear, i. 4 ; 
more man than, King Lear, ii. 4 ; depends on time, Othello, ii. 3 ; 
waits on fear, Venus and Adonis, I. 690. See also Wits. 

Wit, skull of a, Hamlet, v. 1; an unconscious, As You Like It, 
ii. 4, " 1 shall never be 'ware of my own wit till I break my shins 
against it." 

"Witchcraft, of Sycorax, (q. v.), The Tempest, i. 2 ; allusions to, 
Merry Wives of Windsor, iv. 2 ; Comedy of Errors, i. 2 ; ii. 2 ; Hi. 2 ; 
Twelfth Night, Hi. 4 ; I. Henry VI, i. 5, " Blood will 1 draw ; " a 
witch was supposed to be rendered powerless by loss of blood ; I. 
Henry VI, v. 3, " Monarch of the north ; " Ziminar, a devil invoked 
by witches; other allusions to, II. Henry VI, i. 2, 4; ii. 1-4; ac- 
cusation of, Richard 111., Hi. 4; charm against (God save her), 
Henry VIII., v. 4> incantations of, Macbeth, iv. 1. See also under 
Mahu. In Macbeth, i. 3 ; iv. 1 ; and v. 3, many popular notions 
about witches are alluded to — that they could sail any sea in a shell 
or a sieve ; that they could assume the form of any animal ; that 
they sold winds ; that they are connected with the moon ; that they 
untie the winds to fight against the churches, etc. The use of the 
supernatural in the plays of Shakspere was in accord with the belief, 
universal in his time, in witchcraft, ghosts, omens, and portents of 
all kinds. The law against witches, which had been repealed in the 
time of Edward VI., was re-enacted in the time of Elizabeth, because 
they had so terribly increased ; and during the reign of James 1. the 
crime of witchcraft was made punishable by death upon the first 
conviction, Coke and Bacon being members of the Parliament that 
passed the law. King James published a book on " Demonology," 
in 1603 ; but men of far higher intellect were firm believers in the 
power of witches. Sir Thomas Browne declares that those who 
doubt it are atheists. Bishop Jewell, in a sermon before the queen, 
drew an affecting picture of the wasting away of the victims of sor- 



INDEX TO SHAKSPERE'S WORKS. 409 

eery. The names of familiars of witches, that are used in the plays, 
Barbason, Mahu, Smulkin, and others, are found in the writings of 
Reginald Scott, who published a book on witchcraft, in 1584, and 
of other authors of the time. 

Witch(es), Sycorax, The Tempest ; of Brentford, the, Merry 
Wives of Windsor, iv. 2 ; beards of, Merry Wives of Windsor, iv. 
2 ; Ephesus full of, Comedy of Errors, i. 3 ; Joan of Arc accused 
of being a, I. Henry VI, i. 5 ; the Duchess of Gloucester accused, 
II. Henry VI, ii. 3 ; Edward's wife a, Richard III, Hi. 4 ; an 
Egyptian, Othello, Hi. 4 ; images of wax made by. See under Wax. 

Witches, the, or the Three Weird Sisters, characters in Macbeth, 
playing substantially the same part as in the old record. These sis- 
ters answered to the fates of mythology, and are by some supposed 
to be the Norns or fates of Scandinavian mythology, the first t>f 
whom had to do with the past, the second with the present, the third 
with the future. The word is spelled " weyward " in the folio. They 
appear first in *. 1, and are seen by Banquo and Macbeth in i. 3, 
where they make their prophecy, of which the two speak again in ii. 
1, and Banquo in Hi. 1. They appear again in Hi. 5 and in iv. 1, 
where they show him the apparitions and make another prophecy. 

" They are wholly different from any representation of witches in 
contemporary writers, and yet presented a sufficient external resem- 
blance to the creatures of vulgar prejudice to act immediately on the 
audience. Their character consists in the imaginative disconnected 
from the good." — Coleridge. 

Witching-time, of night, Hamlet, Hi. 2. 

Withal, I could not (could not help), Merchant of Venice, Hi. 4> 

Withers, our, are unwrung, Hamlet, Hi. 2. 

Withold, Saint, footed thrice the wold, King Lear, Hi. 4. 

Witness(es), false, Henry VIII, v. 1 ; conscience a, Cymbeline, 
ii. 2 ; of murder, Macbeth, ii. 2. 

Wits, of the home-keeping, are homely — love inhabits in the 
finest, Two Gentlemen of Verona, i. 1 ; the five, Much Ado about 
Nothing, i. 1 ; Twelfth Night, iv. 2 ; King Lear, Hi. 4 ; Romeo and 
Juliet, i. 4> the intellectual faculties, corresponding to the five 
senses; fat, I. Henry IV., i. 2 ; lack of, is no matter in England, 
Hamlet, v. 1. See also Wit. 

Wit-snapper, a, Merchant of Venice, Hi. 5. 

Wittenberg, school at, Hamlet, i. 2. The university dates from 
the year 1502, while the Danish history, from which the tale of Ham- 
let is drawn, was written at about the end of the twelfth century. 



410 INDEX TO SHAKSPERE'S WORKS. 

"Wittol, quibble on, Merry Wives of Windsor, ii. 2, end. 

Wizard(s), prophecy by, II. Henry VI., i. 4; v. 2; Richard 
III, i. 1. 

Woe, faintly borne, Richard II, i. 3 ; to the land governed by 
a child, Richard III, ii. 3 ; for England, Richard III, Hi. 4; if 
sour, delights in fellowship, Romeo and Juliet, Hi. 2 ; trappings of, 
Hamlet, i. 2; a charm against death, Cymbeline, v. 3 ; fellowship in, 
Lucrece, lines 790, 1111. See Grief and Sorrow. 

Woes, comparison of, Much Ado about Nothing, v. 1 ; a tide of, 
Richard II, ii. 2 ; wise men ne'er wail their present, Richard II, 
Hi. 2 ; lose knowledge of themselves, King Lear, iv. 6. 

Wolf (wolves), thy currish spirit governed a, Merchant of Venice, 
iv. 1; Irish, As You Like It, v. 2 ; have done offices of pity, A Win- 
ter's Tale, ii. 3 ; to make a, II. Henry IV., i. 2 ; eat like, Henry V, 
Hi. 7 ; in sheep's array, I. Henry VI, i. 3 ; English, I. Henry VI, 
i. 6; arouse the jades that drag the night, II. Henry VI, iv. 1; 
loves the lamb, Coriolanus, ii. 1 ; sentinels of murder, Macbeth, 
ii. 1. 

Wolsey, Thomas, Archbishop of York and cardinal, character 
in Henry VIII., introduced in the first scene, where he is spoken of 
as a " butcher's cur." His father was a wealthy butcher at Ipswich. 
His power, ambition, and ability are spoken of in i. 1; he is charged 
with oppressive taxation, i. 2; hated by the commons, ii. 1; his 
reasons for urging the divorce, ii. 1, 2 ; Katherine to him, ii. 4; his 
double-dealing discovered, the king's ironical praise, his fall, and 
soliloquy, Hi. 2 ; Henry reading the inventory of his property, Hi. 2. 
(A mistake like this is said to have been made by the Bishop of Dur- 
ham, and used by Wolsey to ruin him.) His death and character, 
iv. 2. This, put into the mouths of Katherine and Griffith, is taken 
almost literally from Holinshed. His farewell to greatness in the cele- 
brated soliloquy is by some critics attributed to Fletcher. Wolsey 
is one of the great characters of the historic plays — haughty, ambi- 
tious, tricky, revengeful, he assumes equal power with the king, in- 
tends to make himself pope, pursues the unfortunate Buckingham 
to death, and raises the question of illegality in the king's marriage 
in order to bring about a union with the sister of the French king, 
and thereby further his own ambitious plans. But the king makes 
his own choice of Katherine's successor, and Wolsey's scheme falls 
to the ground, followed by his own ruin. In his fall he is repre- 
sented in the play as noble, dignified, and Christian-like. 

Woman (women), reason of a, Two Gentlemen of Verona, i. 2 ; 



INDEX TO SHAKSPERE'S WORKS. 411 

a fat, Comedy of Errors, Hi. 2 ; a jealous, Comedy of Errors, v. 1; 
graces of a, Much Ado about Nothing, ii. 3 ; fortune's gifts to, As 
You Like It, i. 2 ; curiosity and impatience of, As You Like It, Hi. 
2, " Doublet and hose in my disposition ; " caprices of, As You Like 
It, Hi. 2 ; wit of, As You Like It, iv. 1; of the world (married), As 
You Like It, v. 3 ; tongue of a, Taming of the Shrew, i. 2, "Why 
came I hither," etc. ; duty of a, Taming of the Shrew, v. 2 ; offer of 
love from a, Twelfth Night, Hi. 1, 4; a, born to fears, King John, 
Hi. 1 ; mood of a, /. Henry I V., i. 3 ; a, therefore to be won, I. Hen- 
ry VI, v. 3 ; was ever, in this humour won, Richard III., i. 2 ; shal- 
low-changing, Richard III., iv. 4 ; answer of a, Troilus and Cres- 
sida, i. 1 ; a mannish, Troilus and Cressida, Hi. 3 ; ambition of a 
Roman, Coriolanus, i. 3; she is a, therefore, Titus Andronicus, ii. 
1 ; an unsexed, Macbeth, i. 5 ; to play the, Macbeth, iv. 3 ; one not 
born of, Macbeth, v. 5 ; a name for frailty, Hamlet, i. 2 ; most 
pernicious, Hamlet, i. 5 ; painting and affectations of, Hamlet, Hi. 1; 
tears the weapons of, King Lear, ii. 4 ; deformity in, King Lear, 
iv. 2 ; will of, King Lear, iv. 6 ; voice of, King Lear, v. 3 ; the 
devil will not eat a, Antony and Cleopatra, v. 2 ; inconstancy of, 
Cymbeline, i. 6; ii. 4, 5 ; all faults in, Cymbeline, ii. 5 ; in man's 
attire, Cymbeline, Hi. 4, 6 ; who can read a, Cymbeline, v. 5 ; a man 
with the beauty of a, Sonnet xx. ; wooing of a, Sonnet xli. ; ad- 
miration for, The Tempest, Hi. 1; in man's attire, Julia in the 
Two Gentlemen of Verona; Rosalind in As You Like It; Viola 
in Twelfth Night; Imogen in Cymbeline ; curiosity of, Two Gen- 
tlemen of Verona, i. 2 ; love of, for gifts — scorn what best contents 
them — are won by a tongue — the only virtue of, Two Gentlemen 
of Verona, Hi. 1 ; three things hated by, Two Gentlemen of Verona, 
Hi. 2 ; frailty of, Measure for Measure, ii. 4 >' an oath not to see, 
Love's Labour's Lost, i. 1 ; ii. 1 ; like German clocks, Love's La- 
bours Lost, Hi. 1, end ; are books and academes, Love's Labour's 
Lost, iv. 3 ; keen tongues of, Love's Labour's Lost, v. 2 ; were not 
made to woo, Midsummer-Night's Dream, ii. 2 ; kindness in, Tam- 
ing of the Shrew, iv. 2 ; ornaments of, Taming of the Shrew, iv. 3 ; 
should be submissive, Taming of the Shrew, v. 2 ; one good in ten, 
All's Well that Ends Well, i. 3; easily captivated, Twelfth Night, 
ii. 2 ; should marry men older than themselves — less fickle than men 
— are as roses — love of, Twelfth Night, ii. 4 ; are won by valour, 
Twelfth Night, Hi. 2 ; how influenced — treachery of — office that be- 
comes, A Winter's Tale, i. 2; stopping the tongues of — a scolding, 
A Winter's Tale, ii. 3 ; war of, Richard IL, ii. 1 ; Welsh, I. Henry 



412 INDEX TO SHAKSPERE'S WORKS. 

IV., i. 1; secrets with, I. Henry IV.. ii. 3 ; the son of a, and yet 
with fewer words than a parrot, 1. Henry IV., ii. 4; shrewd tempt- 
ers, 1. Henry VI, i. 2; beauty, virtue, and government in — the 
queen unlike, HI. Henry VI, i. 4 / when men are ruled by, Richard 
III, i. 1 ; won by flattery, Richard III, iv. 1 ; love eminence, Hen- 
ry VIII, ii. 3 ; are angels when wooed, Troilus and Cressida, i. 2, 
end; that they had men's privileges — constancy in, Troilus and 
Cressida, Hi. 2 ; light, Troilus and Cressida, iv. 5 ; are governed 
by the eyes, Troilus and Cressida, v. 2 ; hearing praise of valour, 
Coriolanus, i. 9; a deputation of, Coriolanus, v. 3 ; tears of, Corio- 
lanus, v. 6; Lucrece, I. 1137 ; Roman custom for, Julius Cazsar, 
i. 2; in keeping counsel — weak-hearted, Julius Caisar, ii. 4; will 
all turn monsters if, etc., King Lear, Hi. 1 ; sarcasms on, Othello, 
ii. 1 ; Venetian, Othello, Hi. 3 ; tears of, Othello, iv. 1 ; unkindness 
to, Antony and Cleopatra, i. 2 ; charms of a, Antony and Cleopatra, 
ii. 2 ; criticism of one, by another, Antony and Cleopatra, Hi. 3 ; 
never strong, Antony and Cleopatra, Hi. 10 or 12; fickleness of, 
Sonnet xx.; waxen minds of, Lucrece, I. 12 40 ; not responsible, Lu- 
crece, lines 1244, 1%57 >' to woo, Passionate Pilgrim, xix. 

Woman (to frighten as a woman), All's Well that Ends Well, 
in. 2. 

"Womanhood, let it not be believed for, Troilus and Cressida, 
v. 2. 

Woman-tired (governed by a woman), A Winter's Tale, ii. 3. 

Won, things, Iroilus and Cressida, i. 2, end. 

Wonder, at unnatural things, Macbeth, Hi. 4; The Tempest, 
v. 1 ; Othello, ii. 1 ; Richard III, Hi. 7 ; attired in, Much Ado 
about Nothing, iv. 1 ; rarest argument of, AIVs Well that Ends Well, 
ii. 1 ; nine days', As You Like It, Hi. 2 ; ten days', III. Henry VI, 
Hi. 2 ; a sonnet beginning " Wonder of nature," Henry V, Hi. 7. 

Wondered (endowed with wonderful power), The Tempest, iv. 1. 

Wood, or wode (wild, frantic), Midsummer-Night's Dream, ii. 1; 
Venus and Adonis, I. 740. 

Woodbine, Much Ado about Nothing, Hi. 1; Midsummer- 
Night's Dream, ii. 2 ; iv. 1. 

Woodcock (a gullible or cowardly fellow), Much Ado about 
Nothing, v. 1 ; Taming of the Shrew, i. 2 ; Love's Labour's Lost, iv. 
3; All's Well that Ends Well. iv. 1; Twelfth Ni^ht, iv. 2. 

Woods, life in the, As You Like It, ii. 1 ; ruthless, Titus An- 
dronicus, ii. 1, 3 ; Bolingbroke's felled, Richard II, Hi. 1. 

Woodville, Richard, Lieutenant or Constable of the Tower, 



INDEX TO SHAKSPERE'S WORKS. 413 

afterward Earl Rivers, character in I. Henry VI. appears in i. 3. 
He was said to be the handsomest man of his day in England. He 
married the widow of the Duke of Bedford, Jacqueline of Luxem- 
bourg, without waiting for the consent of his sovereign ; for this 
offence he was fined a thousand pounds ; but he was soon forgiven, 
and was made Baron Rivers in 1448. His daughter Elizabeth be- 
came the wife of Edward IV., and his son Anthony is the Earl Riv- 
ers of Richard III. After the marriage of his daughter, he became 
a zealous Yorkist, and being taken by the insurgents after the battle 
of Edgecote (July 26, 1469), he and his son, Sir John Woodville, 
were beheaded, without trial, at Coventry. 

Woodville, Anthony. See Rivers. 

Wooing", by a figure, Two Gentlemen of Verona, ii. 1 ; an odd, 
Taming of the Shrew, ii. 1; in haste, Taming of the Shrew, Hi. 2 ; 
in rhyme, Love's Labour's Lost, v. 2 ; a king's, Henry V., v. 2 ; an 
unique, Richard III, i. 2 ; love sweeter in, Troilus and Cressida, i. 
2, end; idle, Hamlet, i. 3; a soldier's, Othello, i. 3 ; women were not 
made for, Midsummer- Night's Dream, ii. 1 or 2 ; wedding and re- 
penting, Much Ado about Nothing, ii. 1. 

Woolward, go, for penance, Love's Labours Lost, v. 2. Go 
clothed in wool instead of linen, sometimes imposed as a penance. 

Worcester, burial of John at, King John, v. 7. The stone coffin 
of John was found in the cathedral at Worcester, July 17, 1797. 

Worcester, Thomas Percy, Earl of, character in I. Henry IV., 
introduced in i. 3. He is Hotspur's uncle, and in rebellion against 
the king. His defection from Henry's predecessor is recounted in 
Richard II, ii. 2. He is calculating, false, and selfish, and will not 
report to Hotspur the king's offer of mercy, lest he himself should in 
the event of a reconciliation live constantly under suspicion. West- 
moreland says of him, " This Worcester, malevolent to you in all 
aspects," *. 1. He was taken prisoner at Shrewsbury, and beheaded 
two days later. 

Word(s), crammed into the ears, The Tempest, ii. 1 ; his, are 
bonds, Two Gentlemen of Verona, ii. 7 ; evil, double deeds, Comedy 
of Errors, Hi. 2 ; ill, empoison liking, Much Ado about Nothing, 
Hi. 1 ; high, to low matter, Love's Labour's Lost, i. 1 ; pronuncia- 
tion of certain — longest of all, Love's Labour's Lost, v. 1 ; an army 
of good, Merchant of Venice, Hi. 5 ; a man of (Parolles, which 
means words), AIVs Well that Ends Well; dallying with, Twelfth 
Night, Hi. 1 ; bethumped with, King John, ii. 2 ; like a woman's, 
I. Henry IV., i. 3 ; of the dying, Richard II, ii. 1 ; windy attor- 



414 INDEX TO SHAKSPERE'S WORKS. 

neys, Richard III., iv. 4>' mere, Troilus and Cressida, v. 3; and 
strokes, Julius Caisar, v. 1 ; unpack the heart with, Hamlet, ii. 2 ; 
without thoughts, Hamlet, Hi. 3 ; to grief, Othello, i. 3 ; to tire the 
hearer with a book of, Much Ado about Nothing, i. 1 ; an exchequer 
of, but no other treasure, Two Gentlemen of Verona, ii, 4 ; a soldier- 
like, II. Henry IV., Hi. 2 ; have put to flight when blows could not, 
Coriolanus, ii. 2 ; unprofitable, Lucrece, I. 1016 ; wind of, Lucrece, 
I. 1330. 

Work, a noble, vilely bound up, A Winter's Tale, iv. 3 or 4. 

Workingmen, rebellion of, II. Henry VI, iv. 2 ; discontent 
among, Henry VIII, i. 2. 

World, on wheels, a, Two Gentlemen of Verona, Hi. 1 ; an oyster, 
Merry Wives of Windsor, ii. 2 ; delights of the, renounced, Love's 
Labour's Lost, i. 1; weariness of the, Merchant of Venice, i. 2 ; 
bought with care — a stage, Merchant of Venice, i. 1 ; As You Like 
It, ii. 7 ; what a, is this, As You Like It, ii. 3 ; how wags — the in- 
fected, As Yon Like It, ii. 7 ; a, to see (a wonder to see), Taming of 
the Shrew, ii. 1 ; go to the (to marry), AIVs Well that Ends Well, 
i. 3 ; turned by commodity, or interest, King John, ii., end ; doffed 
aside, I. Henry IV., iv. 1; to bustle in the, Richard III, i. 1; all, 
to nothing, Richard III, i. 2 ; vain pomp and glory of the, Henry 
VIII, Hi. 2 ; slippery turns of the, Coriolanus, iv. 4 i to do harm 
in the, often laudable, Macbeth, iv. 2 ; weariness with, Macbeth, v. 5 ; 
all uses of it, weary, stale, etc., Hamlet, i. 2; mutations of the, King 
Lear, iv. 1 ; a stage of fools, King Lear, iv. 6 ; this tough, King 
Lear, v. 3 ; the future, Antony and Cleopatra, iv. 12 or 14 ; re- 
nouncing the, different from being in ignorance of the, Cymbeline, 
Hi. 3 ; deceit of the, Richard III, Hi. 1 ; praise of the, Sonnet Ixix. 

Worldlings, testaments of, As You Like It, ii. 1. 

Worra(s), that hath eat a king, Hamlet, iv. 3; man a, King 
Lear, iv. 1 ; the word is often used for serpent, as Antony and Cleo- 
patra, v. 2 ; allusion to the notion that toothache was caused by a, 
Much Ado about Nothing, Hi. 2 ; food for, /. Henry IV., v. 4 ; the 
only emperors for diet — politic, Hamlet, iv. 3, or v. 7. 

Worship (nobility), Henry VIII, i. 1, and elsewhere. 

Worst, the, afraid to hear, King John, iv. 2 ; better in fortune 
than the mean, King Lear, iv. 1 ; fear of, Troilus and Cressida, 
Hi. 2. 

Worth, sorry your choice is not so rich in, as beauty, A Winter's 
Tale, v. 1 ; that stood challenger on mount of all the age (Ophelia's), 
Hamlet, iv. 7 ; perpetuated in verse, Sonnet Ixxxi. 



INDEX TO SHAKSPERE'S WORKS. 415 

Worthies, the Nine, Love's Labours Lost, v. 1; II. Henry IV., 
ii. 4. They were : three heathens — Hector, Alexander, and Caesar ; 
three Jews— Joshua, David, and Judas Maccabaeus ; and three Chris- 
tians—Arthur, Charlemagne, and Godfrey of Bouillon. Shakspere 
includes Pompey and Hercules. 

Worts, quibble on, Merry Wives of Windsor, i. 1. A general 
name for vegetables of the cabbage kind. 

Wound(s), one, to be healed by many, King John, v. 2 ; notion 
that they open in presence of the murderer, Richard III, i. 2 ; the 
custom of showing, when seeking an election, Coriolanus, ii. 3 ; he 
that never felt a, jests at scars, Romeo and Juliet, ii. 2 ; one not so 
deep as a well, nor so wide as a church-door, Romeo and Juliet, 
Hi. 1 ; Caesar's, Julius Caisar, Hi. 1, 2 ; a, Venus and Adonis, 1. 1052. 

Wreak (revenge), Romeo and Juliet, Hi. 5 ; Titus Andronicus, 
iv. 3, 4 ; Coriolanus, iv. 5. 

Wreck, of the Dauphin's forces, King John, v. 3 ; as rocks cheer 
them that fear their, III. Henry VI, ii. 2 ; as men thrown upon 
sand from a, Henry V., iv. 1. 

Wren(s), the youngest of nine, Twelfth Night, Hi. 2. The wren 
was said to lay nine eggs, and the last bird hatched was the small- 
est ; and as Maria was very small, she was called the youngest wren 
of nine ; may prey where eagles dare not perch, Richard III, i. 3 : 
parental love of, Macbeth, iv. 2. 

Wrest (an active power), Troilus and Cressida, Hi. 3. 

Wrestling, allusions to : on the hip, Merchant of Venice, i. 3 ; 
Othello, ii. 1 ; a wrestling-match, As You Like It, i. 2. 

Wretchedness, Comedy of Errors, v. 1, "A needy, hollow- 
eyed," etc. ; last resort of, King Lear, iv. 6 ; of hanging on princes' 
favours, Henry VIII, Hi. 2 ; in poverty, Romeo and Juliet, v. 1. 

Wrinkles, of age, AIVs Well that Ends Well, ii. 4 ; likened to 
kingly sepulchres, III. Henry VI, v. 2 ; let them come with mirth 
and laughter. Merchant of Venice, i. 1. 

Writhled (wrinkled), i". Henry VI, ii. 3. 

Writing, comes by nature, Much Ado about Nothing, Hi. 3 ; let 
it be held treacherous, Cymbeline, iv. 2 ; a baseness to write fair, 
Hamlet, v. 2 ; in a martial hand, Twelfth Night, ii. 3. 

Wroath (ill fortune), Merchant of Venice, ii. 9. 

Wrong(s), it is dishonourable to remember, Coriolanus, v. 3 ; 

to Brutus and Cassius, Julius Caisar, Hi. 2 ; pocketing up of, Henry 

V., Hi. 2 ; humanity must prey upon itself. King Lear, iv. 2 ; to do 

a great right, do a little wrong, Merchant of Venice, iv. 1; fears 

36 



416 INDEX TO SHAKSPERE'S WORKS. 

attend the steps of, King John, iv. 2 ; flattery a, Richard II, Hi. 2 ; 
to wear wrongs like raiment, Timon of Athens, Hi. 2. 

Wrying (swerving), Cymbeline, v. 1. 

Wye, the, a river in Herefordshire and Monmouthshire, repulse 
at, I. Henry IV., Hi. 1 ; Henry V., iv. 7. 

Xantippe, as curst and shrewd as Socrates's, or a worse, Taming 
of the Shrew, i. 2, 

Tare, yarely (quick, speedy, active, skilfully), The Tempest, i. 1; 
v. 1; Measure for Measure, iv. 2 ; Twelfth Night, Hi. 4; Antony 
and Cleopatra, ii. 2 ; Hi. 7, and elsewhere. 

Yaw, Hamlet, v. 2. A sailor's word, meaning not to obey the 
helm ; to move unsteadily. 

Yclep'd (called, from clepe), Love's Labour 's Lost, i. 1 ; v. 2. 

Yead (Edward), Merry Wives of Windsor, i. 1. 

Yearn (to grieve), Henry V., ii. 3 ; iv. 3 ; Julius Co&sar, ii. 2; 
Richard II, v. 5 ; Merry Wives of Windsor, Hi. 5. 

Years, smiles his cheek in, Love's Labour's Lost, v. 2 ; reviewed, 
Henry V., i., chorus; the vale of, Othello, Hi. 3 ; course of, Sonnet 
civ ; as if the, had found some months asleep, II. Henry IV., iv. 4. 

Yellowness (colour of jealousy), Merry Wives of Windsor, i. 3, 
end ; A Winter's Tale, ii. 3, " No yellow in't," etc. ; Cymbeline, ii. 5. 

Yeoman (subordinate), II. Henry IV., ii. 1. 

Yeoman-service, Hamlet, v. 2. 

Yeomen, of England, Henry V., Hi. 1. 

Yesterday(s), 0, call back, Richard II, Hi. 2 ; all our, have 
lighted fools, the way to dusty death, Macbeth, v. 5. 

Yew, double-fatal, Richard II, Hi. 2. So called because it was 
used for bows, and the leaves were poisonous ; allusion to the cus- 
tom of placing sprigs of it in the shroud, Twelfth Night, ii. 4, song ; 
used by witches when slivered in the moon's eclipse, Macbeth, iv. 1; 
in churchyards, Romeo and Juliet, v. 3. 

Yield (requite), Macbeth, i. 6 ; Antony and Cleopatra, iv. 2. 

Yorick, the king's jester, skull of, Hamlet, v. 1. 

York, a city, capital of Yorkshire, 172 miles north of London, 
scene of II. Henry IV., i. 3, and of Z77. Henry VI, iv. 7 ; mayor 
of, III. Henry VI, iv. 2. 

York, Archbishop of, mentioned in ZZ7. Henry VI, iv. 3. 
George Neville, brother of Warwick. See Rotherham and Scroop. 

York and Lancaster, Houses of. See Wars of the Roses. 



INDEX TO SHAKSPERE' S WORKS. 417 

York, Duchess of, a character in Richard II, introduced in v. 2 f 
where the treason of her son Aumerle is discovered by her and the 
duke. In v. 3 she pleads with the king for his pardon. The mother 
of Aumerle, the Duchess Isabel, daughter of Peter the Cruel, King 
of Castile and Leon, died four or five years earlier than the time 
of the play ; and the Duchess at this time was his step-mother, Joan 
Holland, daughter of the Earl of Kent. But Shakspere evidently 
intends the character for Aumerle's own mother. 

York, Cicely Neville, Duchess of, wife of Richard, Duke of York, 
and mother of two kings, Edward IV. and Richard III., was distin- 
guished for her beauty, and was called in her youth the " Rose of 
Raby." She is a character in Richard III, where her son instructs 
Buckingham to throw a slur on her character — which is said to have 
been spotless — in order to prove Edward illegitimate, and put aside 
the claim of his son to the throne. The duchess appears in ii. 2, 
where she lays her curse on her unnatural son, hoping it may weigh 
heavier on the field than all his armour — a saying recalled when he 
is wearied by his beaver and his lance on Bos worth Field. 

York, Edmund of Langley, Duke of, a character in Richard 
IL, first appears in ii. 1. In v. 2 and 3 he denounces Aumerle, his 
traitorous son. Coleridge says: "There is scarcely anything in 
Shakspere in its degree more admirably drawn than York's charac- 
ter ; his religious loyalty struggling with a deep grief and indigna- 
tion at the king's follies ; his adherence to his word and faith, once 
given, in spite of all, even the most natural, feelings. You see in 
him the weakness of old age, and the overwhelmingness of circum- 
stances, for a time, surmounting his sense of duty, the junction of 
both exhibited in his boldness in words and feebleness in immediate 
act ; and then, again, his effort to retrieve himself in abstract loy- 
alty, even at the heavy price of the loss of his son." In contrast 
with this view is that of Gervinus, who regards York as the type of 
political faint-heartedness and neutrality and of cowardly loyalty to 
the strong and powerful, his weakness carried into unnatural ob- 
duracy when he urges his son's death under the fear that suspicion 
may fall upon himself. 

York, Edward Plantagenet, Duke of, character in Henry V., 
first appears in iv. 3, where he asks permission to lead the van at 
Agincourt. He is the Aumerle of Richard II, whose part in the 
conspiracy to take the life of King Henry IV. is discovered in v. 2. 
He was restored to his father's title in 1406, and fought valiantly at 
Agincourt. His death on the field is described in Henry V., iv. 6, 



418 INDEX TO SHAKSPERE'S WORKS, 

He left no children, and the title was given to his nephew, who is 
the Duke of York in the three parts of Henry VI. 

York, Richard Plantagenet, Duke of (1410-1460), character in 
the three parts of Henry VI. He was a son of the Earl of Cam- 
bridge, who was executed for a plot against Henry V., /. Henry VI., 
ii. 5. The son was relieved from the effects of his father's attainder 
in 1425, and restored to his titles and inheritance, Hi. 1, and was 
afterward successively Constable of England, Regent of France, iv. 

1, and Lieutenant of Ireland. He first appears in ii. 4 of the first 
part, in a quarrel with Somerset ; and it was under cover of hostility 
to Somerset that he placed himself in opposition to the king. In v. 
3 of the first part he captures Joan of Arc. He is introduced in the 
first scenes of the other two parts. In the first scene of the second 
part, and again in Hi. 1, he declares in soliloquy his ambitious de- 
signs. His pedigree is given, though not altogether correctly, in ii. 

2, and his title to the throne. In v. 1 he defies the king. In the 
third part, first scene, Henry consents to make him heir to the 
throne that he has seized, if he will give it up to him (Henry) dur- 
ing his lifetime. He fell at the battle of Wakefield, and his head 
was set on the walls of York. In the play, third part, i. 4, he is 
taken prisoner, and stabbed by Clifford and afterward by Queen 
Margaret, who has put a paper crown on his head. Of his four sons, 
Edmund, Duke of Rutland, was killed by Clifford, III. Henry VI, 
i. 3, just before his father's death ; George, Duke of Clarence, was 
murdered in the Tower ; and Edward and Richard reigned as Ed- 
ward IV. and Richard III. (q. v.). 

"The principal figure of the two plays, Richard of York, is 
almost throughout delineated as if the nature of his more fearful 
son were prefigured in him. Far-fetched policy and the cunning 
and dissimulation of a prudent and determined man are blended in 
him — not in the same degree, but in the same apparent contradiction 
as in Richard — with firmness, with a hatred of flattery, with inability 
to cringe, and with bitter and genuine discontent. ' r — Gervinus. 

York, Richard Plantagenet, Duke of, the younger of the two 
sons of King Edward IV., the two little princes who were imprisoned 
in the Tower and assassinated by order of their uncle, Richard III. 
Although the weight of evidence goes to show that the princes were 
actually murdered, as in the play, many entertained doubts of it, 
and supposed that one or both of them escaped. Hence the claim of 
Perkin Warbeck, in the reign of Henry VII., to be Prince Richard, 
gained credence, and made his imposture formidable. 

York, sun of, Richard III, i. 1. Edward IV., whose cognizance 



INDEX TO SHAKSPERE'S WORKS, 419 

was a sun, from the three suns that were said to have appeared at 
the time of his victory at Mortimer's Cross. 

York-place, name of, changed to Whitehall, Henry VIII., iv. 1. 

Yorkshire, Gualtree Forest in, scene of 77. Henry IV., iv. 1-3. 

Young, so, and so villainous, As You Like It, i. 1 ; the wise 
die, Richard III., Hi. 1 ; so, and so untender. King Lear, i. 1 ; so, 
and so unkind, Venus and Adonis, I. 187. 

Your love and pity doth the impression fill, Sonnet cxii. 

You spotted snakes, song, Midsummer- Night's Dream, ii. 2. 

Youth, home-keeping, Two Gentlemen of Verona, i. 1 ; salt of, 
left, Merry Wives of Windsor, ii. 3 ; men moved by, Measure for 
Measure, i. 3, near the end; aims and ends of, Measure for Measure, 
i. 4; wants of, Measure for Measure, Hi. 1 ; blaze of, All's Well that 
Ends Well, v. 3 ; a stuff will not endure, Twelfth Night, ii. 3, song ; 
is easily amused, 77. Henry IV., v. 1; advice for, Hamlet, i. 3 ; wild 
oats of, Hamlet, ii. 1 ; becomes its careless livery, Hamlet, iv. 7 ; 
salad-days of, Antony and Cleopatra, i. 5 ; one's, in his friends, Son- 
net xxii. ; cannot live with age, Passionate Pilgrim, xii. ; aptness 
of, Timon of Athens, i. 1 ; truth of, not to be trusted, Cymbeline, 
v. 5 ; friendship of, A Winter's Tale, i. 2 ; melancholy in, Merchant 
of Venice, i. 2 ; uncurbed, 77. Henry 1 V., iv. 4. 

Zanies, Love's Labour's Lost, v. 2 ; wise men the, of fools, 
Twelfth Night, i. 5. 

Zeal, repaid with ingratitude, Twelfth Night, v. 1 ; to set whole 
realms on fire, Timon of Athens, Hi. 3 ; Wolsey's, for the king, 
Henry VIII, Hi. 2. 

Zed, unnecessary letter, King Lear. ii. 2. 

Zenelophon (or Penelophon), the beggar of the ballad of King 
Cophetua, Love's Labour's Lost, iv. 1. 

Zenith, the, depends upon a most auspicious star, The Tempest, 
i.2. 

Ziminar, a devil invoked by witches, called '• Monarch of the 
north," 7. Henry VI, v. 3. 

Zodiac, the, in his glistering coach, Titus Andronicus, ii. 1. 

Zodiacs (years), Measure for Measure, i. 3. 



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